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 Luxembourg and from Woodstock.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Winnipeg and Toronto.
I'm losing my edge to the art-school London 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 guitar sounds with much patience.
I was there when Tom Verlaine 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 Deutsch Amerikanische Freundschaft to the electroclash 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 Charles Mingus. All the underground hits.
All Metal Thangz tracks. I heard you have a vinyl of every Grandmaster Flash 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 '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Bizarre Inc. record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Don Cherry,
Soulsonic Force,
Idris Muhammad,
The Music Machine,
Roy Ayers,
In Retrospect,
Roger Hodgson,
Robert Hood,
Basic Channel,
Yellowson,
Lonnie Liston Smith,
Faust,
Electric Light Orchestra,
Bang on a Can All-Stars,
Kayak,
John Holt,
Gian Franco Pienzio,
FM Einheit,
The Monks,
Gary Puckett & The Union Gap,
Glambeats Corp.,
Joe Smooth,
Nils Olav,
Roy Ayers Ubiquity,
Kerrie Biddell,
Cheater Slicks,
The Selecter,
UT,
Duran Duran,
Sight & Sound,
Oppenheimer Analysis,
The American Breed,
Delon & Dalcan,
Hasil Adkins,
Wighnomy Brothers & Robag Wruhme,
The Last Poets,
Angels of Light & Akron/Family,
Freddie Wadling,
EPMD,
Strawberry Alarm Clock,
Unrelated Segments,
Banda Bassotti,
Zero Boys,
Gang Gang Dance,
Marc Almond,
Traffic Nightmare,
The Detroit Cobras,
Public Image Ltd.,
Alphaville,
The Grass Roots,
Monolake,
Minny Pops,
The Busters,
Ponytail,
Amon Düül,
Charles Mingus,
X-Ray Spex,
Inner City,
Fugazi,
Guru Guru,
Funky Four + One,
Absolute Body Control,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.