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 Mauritius and from Accra.
But I was there.
I was there in .
I was there at the first Suicide 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 1968 to 1979.
I'm losing my edge.
To all the kids in Beijing and Houston.
I'm losing my edge to the art-school Copenhagen 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 mellotron 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 F. McDonald to the techno kids.
I played it at Trash.
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 Dual Sessions. All the underground hits.
All Neu! tracks. I heard you have a vinyl of every Camouflage 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 '60s cut and another box set from the '90s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Country Joe & The Fish,
Pylon,
Pharaoh Sanders and the Fire Engines,
Electric Light Orchestra,
Easy Going,
Robert Hood,
MC5,
La Düsseldorf,
Stiv Bators,
KRS-One,
Nick Cave & The Bad Seeds,
Arab on Radar,
Con Funk Shun,
Yusef Lateef,
The Invisible,
David Bowie,
Sun City Girls,
Mo-Dettes,
Aaron Thompson,
Soft Machine,
OOIOO,
Amon Düül,
The Doors,
Black Bananas,
Drexciya,
Deakin,
The Sonics,
Saccharine Trust,
Girls At Our Best!,
Steve Hackett,
Richard Hell and the Voidoids,
World's Most,
Radiohead,
Amon Düül II,
Piero Umiliani,
Connie Case,
Ken Boothe,
Blancmange,
The Slits,
Blossom Toes,
Major Organ And The Adding Machine,
Bob Dylan,
Marmalade,
Chrome,
Jeru the Damaja,
Talk Talk,
Japan,
E-Dancer,
Tropical Tobacco,
Graham Central Station,
Monolake,
Pete Rock & C.L. Smooth,
H. Thieme,
Brass Construction,
Mark Hollis,
Accadde A,
A Certain Ratio,
D'Angelo,
Oblivians,
Henry Cow,
Icehouse,
The Sound, The Sound, The Sound, The Sound.
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.