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 Ghana and from Edmonton.
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 1962 to 1974.
I'm losing my edge.
To all the kids in London and Copenhagen.
I'm losing my edge to the art-school New York 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the marimba 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 Sun City Girls to the punk kids.
I played it at the Crocodile.
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 Grauzone. All the underground hits.
All Mark Hollis tracks. I heard you have a vinyl of every Swell Maps record on German import.
I heard that you have a white label of every seminal rock 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 an organ and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Dual Sessions record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
Gabor Szabo,
Bobby Sherman,
Sarah Menescal,
Gang of Four,
Archie Shepp,
Bush Tetras,
E-Dancer,
June Days,
Sparks,
Lou Reed & Metallica,
London Community Gospel Choir,
Thompson Twins,
Model 500,
Curtis Mayfield,
Sun City Girls,
The Toasters,
Lightning Bolt,
Skriet,
Vladislav Delay,
Stereo Dub,
Isaac Hayes,
Kevin Saunderson,
Pantaleimon,
Ultravox,
James White and The Blacks,
The Wake,
Rites of Spring,
The Kinks,
the Normal,
Deakin,
Sad Lovers and Giants,
T. Rex,
Black Bananas,
Sex Pistols,
David McCallum,
Lou Reed & John Cale,
The Detroit Cobras,
Sexual Harrassment,
Slick Rick,
Unwound,
Scott Walker,
Sun Ra,
Bang on a Can All-Stars,
The West Coast Pop Art Experimental Band,
The Gladiators,
Main Source,
Big Daddy Kane,
Bobby Byrd,
Bill Wells,
The Star Department,
Johnny Osbourne,
D'Angelo,
Gong,
Ponytail,
Albert Ayler,
De La Soul & Jungle Brothers,
Pete Rock & C.L. Smooth,
The Monks,
Siouxsie and the Banshees,
Shuggie Otis,
Rotary Connection,
Deepchord,
One Last Wish, One Last Wish, One Last Wish, One Last Wish.
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.