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 Russia and from Lyon.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1971.
I'm losing my edge.
To all the kids in Portland and Edmonton.
I'm losing my edge to the art-school Seoul 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 spring reverb sounds with much patience.
I was there when Captain Beefheart 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 Kango’s Stein Massive to the funk 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 Crispian St. Peters. All the underground hits.
All Hardrive tracks. I heard you have a vinyl of every Rakim record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s 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 Masters at Work record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Monolake,
Chris Corsano,
Alton Ellis,
Aural Exciters,
Sonic Youth,
Todd Rundgren,
Fifty Foot Hose,
Ken Boothe,
Nation of Ulysses,
Minor Threat,
Gichy Dan,
It's A Beautiful Day,
Sister Nancy,
Beasts of Bourbon,
Rod Modell,
Main Source,
Panda Bear,
Ultra Naté,
Camouflage,
Average White Band,
Pole,
Nirvana,
Dawn Penn,
Pete Rock & C.L. Smooth,
Sight & Sound,
Steve Hackett,
Man Eating Sloth,
The Cramps,
Roxette,
Gabor Szabo,
The Gap Band,
Maurizio,
The Fortunes,
The Gladiators,
Richard Hell and the Voidoids,
Marc Romboy vs. Booka Shade,
Crooked Eye,
The Mighty Diamonds,
Ten City,
Gil Scott Heron,
Max Romeo,
Pagans,
The Durutti Column,
Parry Music,
Art Ensemble Of Chicago,
Althea and Donna,
The Doobie Brothers,
Stetsasonic,
Make Up,
Pantaleimon,
Inner City,
Los Fastidios,
Neil Young,
Soul II Soul,
Fugazi,
Country Joe & The Fish,
The United States of America,
Fort Wilson Riot,
De La Soul & Jungle Brothers,
Deadbeat,
Delon & Dalcan,
Youth Brigade,
Angels of Light & Akron/Family,
MC5, MC5, MC5, MC5.
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.