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 Botswana and from Taipei.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Taipei and Milan.
I'm losing my edge to the art-school Winnipeg 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 theremin sounds with much patience.
I was there when Donald Fagen 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 Names to the crunk kids.
I played it at CBGB's.
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 Duran Duran. All the underground hits.
All Sam Rivers tracks. I heard you have a vinyl of every Eden Ahbez record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Cure record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Ken Boothe,
The Walker Brothers,
the Slits,
Matthew Halsall,
Graham Central Station,
Interpol,
Reagan Youth,
Kings Of Tomorrow,
Grandmaster Flash and the Furious Five,
Kerri Chandler,
Chris & Cosey,
Michelle Simonal,
The Wake,
Crash Course in Science,
Rotary Connection,
The Monochrome Set,
Model 500,
Accadde A,
Depeche Mode,
The Doors,
Juan Atkins,
Howard Jones,
Con Funk Shun,
Ituana,
Gabor Szabo,
Agitation Free,
Bootsy Collins,
The Motions,
The Count Five,
CMW,
Marmalade,
D'Angelo,
Cluster,
Traffic Nightmare,
The Vogues,
Gastr Del Sol,
The Last Poets,
EPMD,
Theoretical Girls,
Mo-Dettes,
Au Pairs,
Grey Daturas,
Amon Düül,
Minny Pops,
Albert Ayler,
Susan Cadogan,
Jeru the Damaja,
Barbara Tucker,
Franke,
Sarah Menescal,
Joensuu 1685,
Cabaret Voltaire,
Technova,
Reuben Wilson,
Flamin' Groovies,
Simply Red,
The Blackbyrds,
Kauko Röyhkä ja Narttu,
Nik Kershaw,
Gang of Four,
The Red Krayola,
The Mummies, The Mummies, The Mummies, The Mummies.
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.