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 Moldova and from Salvador.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Tehran and Milan.
I'm losing my edge to the art-school Manila 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the 808 sounds with much patience.
I was there when Holger Czukay 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 Country Teasers to the disco kids.
I played it at the Roxy.
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 The Move. All the underground hits.
All Supertramp tracks. I heard you have a vinyl of every Dead Boys 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 '60s cut and another box set from the '80s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Womack,
The Blackbyrds,
Alison Limerick,
Crispy Ambulance,
Kango’s Stein Massive,
Camouflage,
The Zeros,
Gang Green,
Kool Moe Dee,
Dark Day,
Rapeman,
Justin Hinds & The Dominoes,
Patti Smith,
Eve St. Jones,
Bang On A Can,
Fat Boys,
Deutsch Amerikanische Freundschaft,
Mad Mike,
Jandek,
Letta Mbulu,
Girls At Our Best!,
Bronski Beat,
The Standells,
Harpers Bizarre,
Lee Hazlewood,
Gregory Isaacs,
Drive Like Jehu,
Terry Callier,
The Cosmic Jokers,
Mars,
Vaughan Mason & Crew,
The J.B.'s,
Minutemen,
The Names,
Roy Ayers Ubiquity,
Aural Exciters,
Be Bop Deluxe,
Avey Tare & Kría Brekkan,
Malaria!,
The American Breed,
The Wake,
Gang Gang Dance,
Janne Schatter,
The Barracudas,
The Real Kids,
The Durutti Column,
Pussy Galore,
Heavy D & The Boyz,
Siglo XX,
Brass Construction,
Neu!,
Teenage Jesus and the Jerks,
Man Eating Sloth,
Nils Olav,
Black Moon,
MC5,
Au Pairs,
Jacques Brel,
Half Japanese,
Bob Dylan,
Urselle,
Röyhkä ja Rättö ja Lehtisalo,
Sparks, Sparks, Sparks, Sparks.
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.