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 Bahamas and from Taipei.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Philadelphia and Winnipeg.
I'm losing my edge to the art-school Lyon 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 synthesizer 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 Lee Hazlewood to the rock kids.
I played it at the Spitz.
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 Ornette Coleman. All the underground hits.
All Tim Buckley tracks. I heard you have a vinyl of every Steve Hackett record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a 808 and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlbäck record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin 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?
Eddi Front,
Slave,
Manfred Mann's Earth Band,
Franke,
Derrick Morgan,
Bang on a Can All-Stars,
The Mummies,
Ornette Coleman,
Jawbox,
Delta 5,
Unrelated Segments,
Moby Grape,
The Skatalites,
Masters at Work,
Michelle Simonal,
X-101,
The Sisters of Mercy,
Rakim,
X-102,
Althea and Donna,
Wighnomy Brothers & Robag Wruhme,
Jacob Miller,
Terry Callier,
Flamin' Groovies,
The Associates,
Stiv Bators,
Notorious BIG live in Amsterdam,
Crooked Eye,
Kayak,
Gang Starr,
Gil Scott Heron,
Gabor Szabo,
Jandek,
Agitation Free,
the Slits,
The Dirtbombs,
Public Enemy,
Fear,
Fela Kuti,
Rahsaan Roland Kirk,
The Victims,
The Selecter,
the Association,
Magazine,
Dark Day,
Hasil Adkins,
Lower 48,
The Invisible,
Nick Cave & The Bad Seeds,
The Names,
Lou Reed & John Cale,
Pharaoh Sanders and the Fire Engines,
Audionom,
Warren Ellis,
Shuggie Otis,
Drive Like Jehu,
Avey Tare's Slasher Flicks,
Aaron Thompson,
Pete Rock & C.L. Smooth,
Q and Not U,
Max Romeo,
Quando Quango,
Robert Hood, Robert Hood, Robert Hood, Robert Hood.
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.