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 United Kingdom and from Bologna.
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 1966 to 1972.
I'm losing my edge.
To all the kids in London and Lille.
I'm losing my edge to the art-school Mumbai 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 Robert Palmer 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 Fear to the dance 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 A Certain Ratio. All the underground hits.
All The Grass Roots tracks. I heard you have a vinyl of every The Evens record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monolake,
Groovy Waters,
David Axelrod,
Brass Construction,
Leonard Cohen,
Make Up,
Orchestral Manoeuvres in the Dark,
Unwound,
FM Einheit,
Man Eating Sloth,
Section 25,
Lou Reed,
Au Pairs,
The Golliwogs,
Jawbox,
Byron Stingily,
Sarah Menescal,
Brothers Johnson,
Rotary Connection,
Sandy B,
Ossler,
Grauzone,
Ornette Coleman,
Tropical Tobacco,
Spoonie Gee,
Roxy Music,
Organ,
The Doors,
Newcleus,
8 Eyed Spy,
The Dave Clark Five,
Skarface,
Popol Vuh,
The Shadows of Knight,
Animal Collective,
the Sonics,
Throbbing Gristle,
Marshall Jefferson,
Unrelated Segments,
Roxette,
Bobby Hutcherson,
Skriet,
Avey Tare & Kría Brekkan,
Oppenheimer Analysis,
The Fuzztones,
China Crisis,
One Last Wish,
The Dead C,
The Smoke,
The Young Rascals,
Bronski Beat,
Ronan,
Joyce Sims,
Pierre Henry,
The Fugs,
Royal Trux,
Jeff Mills,
Ajijia Myrayebe,
Marine Girls,
Heaven 17,
Aural Exciters,
Panda Bear,
AZ, AZ, AZ, AZ.
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.