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 Tonga and from Lagos.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Taipei and Milan.
I'm losing my edge to the art-school Milan 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the marimba 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 Michelle Simonal to the funk 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 Mars. All the underground hits.
All Sister Nancy tracks. I heard you have a vinyl of every The Human League record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an organ and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Vaughan Mason & Crew record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Saccharine Trust,
The Zeros,
Terry Callier,
Andrew Ashong & Theo Parrish,
Stiv Bators,
The Saints,
Maurizio,
Orchestral Manoeuvres in the Dark,
Spoonie Gee,
Erasure,
Cybotron,
The J.B.'s,
Lou Reed & John Cale,
The Move,
Dead Boys,
Ponytail,
Hardrive,
Throbbing Gristle,
Country Teasers,
MC5,
Wally Richardson,
X-101,
The Sound,
Charles Mingus,
Franke,
Los Fastidios,
Kenny Larkin,
Sun Ra,
The Alarm Clocks,
Stetsasonic,
Jawbox,
Eve St. Jones,
The American Breed,
The Cramps,
Minny Pops,
Scott Walker + Sunn O))),
Outsiders,
Hot Snakes,
Basic Channel,
Grauzone,
Moby Grape,
The Fortunes,
Be Bop Deluxe,
the Human League,
Duran Duran,
Rekid,
Bootsy's Rubber Band,
Zero Boys,
Liliput,
Scratch Acid,
Al Stewart,
Pete Rock & C.L. Smooth,
Art Ensemble Of Chicago,
In Retrospect,
The Searchers,
8 Eyed Spy,
The Happenings,
Camberwell Now,
Derrick May,
Soulsonic Force,
Ossler,
Jesper Dahlback,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.