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 Grenada and from Houston.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Seoul and Madrid.
I'm losing my edge to the art-school Lille 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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Doors to the rock 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 Harpers Bizarre. All the underground hits.
All the Swans tracks. I heard you have a vinyl of every Minnie Riperton record on German import.
I heard that you have a white label of every seminal rock 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 rhodes and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash and the Furious Five record.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
It's A Beautiful Day,
Kevin Saunderson,
Bad Manners,
The Cowsills,
Drexciya,
The Cure,
Curtis Mayfield,
Robert Wyatt,
Gang Green,
Infiniti,
Joe Smooth,
Scrapy,
DJ Style,
Bush Tetras,
Rapeman,
Jesper Dahlback,
Loose Ends,
Motorama,
John Foxx,
Matthew Bourne,
Arab on Radar,
Orchestral Manoeuvres in the Dark,
The Stooges,
Yaz,
Derrick May,
Boz Scaggs,
Brass Construction,
Whodini,
Wolf Eyes,
Agitation Free,
Stereo Dub,
Q65,
Smog,
Deepchord,
Roy Ayers Ubiquity,
Hoover,
Little Man,
The Associates,
Jimmy McGriff,
The Gap Band,
Tears for Fears,
Richard Hell and the Voidoids,
Tres Demented,
Barry Ungar,
Suburban Knight,
Andrew Ashong & Theo Parrish,
The Buckinghams,
The Barracudas,
Agent Orange,
Dark Day,
The Human League,
One Last Wish,
John Coltrane,
Danielle Patucci,
Peter and Kerry,
Crime,
John Cale,
Bluetip,
The Martian,
Donald Byrd,
Von Mondo,
Suicide,
Half Japanese, Half Japanese, Half Japanese, Half Japanese.
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.