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 Korea North and from Calgary.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Mexico City and Lyon.
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 1973 at the first Television practice in a loft in New York.
I was working on the organ sounds with much patience.
I was there when Donald Fagen 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 Marcia Griffiths to the punk kids.
I played it at the Astoria.
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 Sugar Minott. All the underground hits.
All Jandek tracks. I heard you have a vinyl of every The Shadows of Knight record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a 808 and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eddi Front,
Albert Ayler,
Stockholm Monsters,
Joe Finger,
Rhythm & Sound,
Crash Course in Science,
Pierre Henry,
Robert Görl,
Neil Young,
the Bar-Kays,
Eli Mardock,
Sexual Harrassment,
Porter Ricks,
the Fania All-Stars,
Byron Stingily,
The Cramps,
Johnny Osbourne,
Andrew Hill,
This Heat,
Essential Logic,
The Residents,
Connie Case,
Kayak,
Theoretical Girls,
The Star Department,
Bobby Byrd,
Pere Ubu,
H. Thieme,
Jimmy McGriff,
Peter and Kerry,
Joe Smooth,
Cymande,
Rufus Thomas,
John Coltrane,
Ultravox,
Flash Fearless,
Los Fastidios,
The Five Americans,
Juan Atkins,
The Offenders,
Steve Hackett,
Depeche Mode,
Girls At Our Best!,
Oneida,
Parry Music,
Roger Hodgson,
John Lydon,
Bill Wells,
Yusef Lateef,
The Fugs,
Reuben Wilson,
The Remains,
Crispian St. Peters,
Harpers Bizarre,
Grey Daturas,
Duran Duran,
Bobby Womack,
Sister Nancy,
Ralphi Rosario,
New Age Steppers,
Masters at Work,
Soft Machine,
Danielle Patucci, Danielle Patucci, Danielle Patucci, Danielle Patucci.
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.