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 Slovakia and from New York.
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 1974.
I'm losing my edge.
To all the kids in Columbus and Delhi.
I'm losing my edge to the art-school Toronto 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Matthew Bourne to the rock kids.
I played it at the Roxy.
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 Heaven 17. All the underground hits.
All Accadde A tracks. I heard you have a vinyl of every Mary Jane Girls record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Man Parrish record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Light Orchestra,
Justin Hinds & The Dominoes,
Procol Harum,
Hasil Adkins,
The West Coast Pop Art Experimental Band,
The Move,
The Cowsills,
Jeff Lynne,
Magazine,
Avey Tare & Kría Brekkan,
Spandau Ballet,
The Gap Band,
The Star Department,
Lyres,
Spoonie Gee,
Amon Düül,
The Trojans,
Lebanon Hanover,
Barclay James Harvest,
Massinfluence,
Connie Case,
Sly & The Family Stone,
Shoche,
Joy Division,
The Electric Prunes,
Youth Brigade,
Moss Icon,
Severed Heads,
The Dave Clark Five,
Brothers Johnson,
The Fire Engines,
Al Stewart,
Monolake,
The Real Kids,
The Last Poets,
Captain Beefheart & His Magic Band,
The Stooges,
The United States of America,
Sonny Sharrock,
Grey Daturas,
Oneida,
Bootsy Collins,
Bang on a Can All-Stars,
Anthony Braxton,
Reuben Wilson,
Gary Puckett & The Union Gap,
the Slits,
cv313,
Ornette Coleman,
Adolescents,
Pole,
The Jesus and Mary Chain,
Blancmange,
Flamin' Groovies,
Matthew Bourne,
Lightning Bolt,
Visage,
Rod Modell,
Kings Of Tomorrow,
Art Ensemble Of Chicago,
Aswad,
Siglo XX,
The Barracudas,
The Walker Brothers,
Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo, Kool G Rap & DJ Polo.
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.