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 Mali and from Cairo.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Jakarta and Bologna.
I'm losing my edge to the art-school Beijing 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 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 The Monks to the grunge 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 Average White Band. All the underground hits.
All Rekid tracks. I heard you have a vinyl of every Roy Ayers 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 '90s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Anthony Braxton record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doors,
The Cowsills,
Jesper Dahlbäck,
The Misunderstood,
Terry Callier,
Henry Cow,
Ronan,
The Barracudas,
X-102,
Urselle,
A Certain Ratio,
Black Moon,
Fear,
James White and The Blacks,
Scion,
Cheater Slicks,
MC5,
Selector Dub Narcotic,
Lizzy Mercier Descloux,
Kerrie Biddell,
The Fall,
Can,
Isaac Hayes,
the Germs,
Throbbing Gristle,
48th St. Collective,
The Smoke,
Todd Rundgren,
The Standells,
The Toasters,
Schoolly D,
Strawberry Alarm Clock,
The Durutti Column,
AZ,
Stiv Bators,
the Fania All-Stars,
Lebanon Hanover,
Kayak,
MDC,
10cc,
Sun City Girls,
Mandrill,
Smog,
The Monks,
Nas,
The Monochrome Set,
Davy DMX,
the Soft Cell,
Oblivians,
Faust,
Orchestral Manoeuvres in the Dark,
John Foxx,
Bootsy's Rubber Band,
cv313,
the Bar-Kays,
Outsiders,
The Last Poets,
Amon Düül II,
Visage,
Sad Lovers and Giants,
Bluetip,
The Victims, The Victims, The Victims, The Victims.
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.