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 Brunei and from Manila.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Bremen.
I'm losing my edge to the art-school Jakarta 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the organ sounds with much patience.
I was there when Michael McDonald 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 Amon Düül to the rap kids.
I played it at the Troubador.
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 Remains. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every Agent Orange record on German import.
I heard that you have a white label of every seminal funk 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 marimba and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Notorious BIG live in Amsterdam record.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Severed Heads,
Smog,
The Motions,
Index,
Visionaries,LMNO, T- Love & Iriscience,
Richard Hell and the Voidoids,
Iggy Pop,
Pussy Galore,
Scion,
Bizarre Inc.,
Joe Finger,
Wighnomy Brothers & Robag Wruhme,
Roxette,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
U.S. Maple,
Urselle,
The Standells,
David McCallum,
Connie Case,
The Real Kids,
Tears for Fears,
Gichy Dan,
Aaron Thompson,
Isaac Hayes,
B.T. Express,
Spoonie Gee,
Subhumans,
Ohio Players,
Pharoah Sanders,
The Selecter,
The Knickerbockers,
The Techniques,
Oppenheimer Analysis,
A Flock of Seagulls,
Sarah Menescal,
The Walker Brothers,
John Foxx,
Electric Light Orchestra,
Oblivians,
Cecil Taylor,
Jacob Miller,
Unrelated Segments,
Eyeless In Gaza,
Avey Tare's Slasher Flicks,
Pharaoh Sanders and the Fire Engines,
Pole,
The Slackers,
The Dead C,
Gian Franco Pienzio,
John Holt,
Piero Umiliani,
Lebanon Hanover,
Lower 48,
Jandek,
Kas Product,
Soul II Soul,
Theoretical Girls,
Rhythm & Sound,
Ultravox,
Beasts of Bourbon,
The Fall, The Fall, The Fall, The Fall.
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.