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 Sudan and from Accra.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Portland and Woodstock.
I'm losing my edge to the art-school Shanghai 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 snare 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 Camouflage 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 Eddi Front. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every Gerry Rafferty record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a snare and a spring reverb 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 oboe and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quantec,
8 Eyed Spy,
Magazine,
The Pop Group,
Bang on a Can All-Stars,
Stockholm Monsters,
Isaac Hayes,
Delon & Dalcan,
Moss Icon,
Be Bop Deluxe,
Radio Birdman,
The Seeds,
K-Klass,
Massinfluence,
Young Marble Giants,
Blossom Toes,
June Days,
JFA,
Pere Ubu,
Cabaret Voltaire,
The Remains,
Agitation Free,
Tubeway Army,
Inner City,
The Index,
The Chocolate Watch Band,
Ituana,
Althea and Donna,
Suburban Knight,
Johnny Osbourne,
Maurizio,
World's Most,
China Crisis,
John Cale,
Susan Cadogan,
Soft Machine,
Avey Tare's Slasher Flicks,
Gian Franco Pienzio,
Yaz,
Porter Ricks,
Röyhkä ja Rättö ja Lehtisalo,
Lafayette Afro Rock Band,
the Soft Cell,
Marine Girls,
New York Dolls,
Franke,
The Cramps,
The New Christs,
The Residents,
Depeche Mode,
The Modern Lovers,
The Tremeloes,
the Sonics,
The Electric Prunes,
Brick,
Crispian St. Peters,
Sunsets and Hearts,
Rowland S Howard / Lydia Lunch,
Sexual Harrassment,
Laurel Aitken,
Zero Boys,
Au Pairs, Au Pairs, Au Pairs, Au Pairs.
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.