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 San Marino and from Johannesburg.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Madrid and New York.
I'm losing my edge to the art-school Houston 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 1968 at the first Can practice in a loft in Cologne.
I was working on the oboe sounds with much patience.
I was there when Nile Rodgers 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 Fad Gadget to the disco kids.
I played it at the Hacienda.
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 Suburban Knight. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every Archie Shepp record on German import.
I heard that you have a white label of every seminal electroclash 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 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a These Immortal Souls record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Goldenarms,
David McCallum,
Soulsonic Force,
Isaac Hayes,
Ponytail,
Be Bop Deluxe,
Andrew Ashong & Theo Parrish,
10cc,
Young Marble Giants,
48th St. Collective,
New Age Steppers,
James Chance & The Contortions,
Funky Four + One,
Main Source,
Banda Bassotti,
Colin Newman,
the Slits,
Dead Boys,
Lizzy Mercier Descloux,
Soft Machine,
Arab on Radar,
La Düsseldorf,
Stockholm Monsters,
Darondo,
Hasil Adkins,
Excepter,
Minutemen,
Ken Boothe,
Godley & Creme,
Lafayette Afro Rock Band,
Cheater Slicks,
The Blues Magoos,
Ice-T,
Echospace,
Barclay James Harvest,
Girls At Our Best!,
Joe Finger,
Swell Maps,
The Happenings,
Erasure,
Can,
Jimmy McGriff,
Nick Fraelich,
Severed Heads,
U.S. Maple,
Michelle Simonal,
The Music Machine,
Lyres,
Organ,
Rhythim Is Rhythim,
The Stooges,
Flamin' Groovies,
Alison Limerick,
Infiniti,
Echo & the Bunnymen,
Brand Nubian,
Joy Division,
Robert Wyatt,
Wally Richardson,
The Remains,
Rod Modell,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.