Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Guatemala and from Philadelphia.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1962 to 1970.
I'm losing my edge.
To all the kids in New York and Mumbai.
I'm losing my edge to the art-school Portland kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the spring reverb sounds with much patience.
I was there when David Bowie started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Ituana to the grunge kids.
I played it at CBGB's.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by The Moleskins. All the underground hits.
All John Coltrane tracks. I heard you have a vinyl of every Zapp record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Monks record.
I hear that you and your band have sold your mellotron and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tim Buckley,
Guru Guru,
Infiniti,
The Music Machine,
The Smiths,
Supertramp,
Black Pus,
Intrusion,
Adolescents,
Crash Course in Science,
Lou Christie,
T. Rex,
X-102,
JFA,
the Soft Cell,
Bizarre Inc.,
The Happenings,
Darondo,
Jacques Brel,
Faust,
Ken Boothe,
Eric Copeland,
The Residents,
The Neon Judgement,
Cameo,
the Normal,
The Blues Magoos,
Procol Harum,
The Flesh Eaters,
One Last Wish,
Amon Düül,
The United States of America,
Gil Scott-Heron and Jamie xx,
the Slits,
Main Source,
Major Organ And The Adding Machine,
Terry Callier,
Sun City Girls,
Banda Bassotti,
MDC,
Rhythm & Sound,
Barry Ungar,
Davy DMX,
Agitation Free,
Max Romeo,
Niagra,
Derrick Morgan,
Andrew Hill,
Arab on Radar,
Avey Tare & Kría Brekkan,
Radio Birdman,
Buzzcocks,
Al Stewart,
The Human League,
Tommy Roe,
The Index,
Scratch Acid,
Lucky Dragons,
The Saints,
The Cure,
Television,
Half Japanese, Half Japanese, Half Japanese, Half Japanese.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.