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 Senegal and from Mexico City.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Paris and Tehran.
I'm losing my edge to the art-school Paris 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the harpsichord sounds with much patience.
I was there when Lou Reed 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 Wighnomy Brothers & Robag Wruhme 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 Crash Course in Science. All the underground hits.
All Camberwell Now tracks. I heard you have a vinyl of every Animal Collective record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Stiv Bators record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Japan,
The Tremeloes,
Boredoms,
The Five Americans,
Soft Machine,
The Monochrome Set,
Icehouse,
Arab on Radar,
Tim Buckley,
Maleditus Sound,
Unrelated Segments,
The Fugs,
Soul II Soul,
Moss Icon,
The Mojo Men,
Roy Ayers,
The Smiths,
The Last Poets,
Rekid,
The Doobie Brothers,
Eve St. Jones,
Goldenarms,
Alice Coltrane,
Y Pants,
Laurel Aitken,
This Heat,
Flipper,
Chrome,
Al Stewart,
Mantronix,
Rod Modell,
These Immortal Souls,
Sight & Sound,
Bluetip,
Lakeside,
The Sound,
Howard Jones,
Charles Mingus,
Reuben Wilson,
Ultra Naté,
Ultravox,
Connie Case,
Rites of Spring,
Spandau Ballet,
Livin' Joy,
Nico,
Amon Düül,
Kauko Röyhkä ja Narttu,
Agitation Free,
Arcadia,
Roxette,
Wally Richardson,
Ice-T,
The Victims,
Roy Ayers Ubiquity,
Rotary Connection,
Public Image Ltd.,
Fat Boys,
Khruangbin,
Sonic Youth,
Gang of Four,
Harpers Bizarre, Harpers Bizarre, Harpers Bizarre, Harpers Bizarre.
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.