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 Finland and from Mumbai.
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 1972.
I'm losing my edge.
To all the kids in Portland and Woodstock.
I'm losing my edge to the art-school Tokyo 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 1968 at the first Can practice in a loft in Cologne.
I was working on the oboe sounds with much patience.
I was there when Michael McDonald 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 Lindisfarne to the crunk kids.
I played it at the Hacienda.
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 UT. All the underground hits.
All Donny Hathaway tracks. I heard you have a vinyl of every Kevin Saunderson record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Cowsills record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultra Naté,
Black Sheep,
Sunsets and Hearts,
Lou Reed & Metallica,
The Fire Engines,
Roy Ayers Ubiquity,
Lungfish,
Bauhaus,
New York Dolls,
The Red Krayola,
Metal Thangz,
The Buckinghams,
Janne Schatter,
The Blues Magoos,
Heavy D & The Boyz,
Arcadia,
Interpol,
Graham Central Station,
Guru Guru,
In Retrospect,
The Five Americans,
Sun Ra Arkestra,
Gil Scott-Heron & Brian Jackson,
OOIOO,
The Offenders,
Smog,
Shuggie Otis,
Harry Pussy,
the Fania All-Stars,
Zero Boys,
The Martian,
Blake Baxter,
Marc Almond,
Surgeon,
The Gun Club,
Sparks,
Skriet,
Kauko Röyhkä ja Narttu,
The J.B.'s,
Gil Scott-Heron and Jamie xx,
Inner City,
Traffic Nightmare,
Sarah Menescal,
The Moleskins,
Motorama,
Oneida,
World's Most,
Eden Ahbez,
Kayak,
Boogie Down Productions,
Japan,
The Moody Blues,
The New Christs,
The Cramps,
Whodini,
Panda Bear,
De La Soul & Jungle Brothers,
the Sonics,
Godley & Creme,
Crispian St. Peters,
Rufus Thomas,
The Detroit Cobras, The Detroit Cobras, The Detroit Cobras, The Detroit Cobras.
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.