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 Venezuela and from Lyon.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1978.
I'm losing my edge.
To all the kids in Jakarta and Lagos.
I'm losing my edge to the art-school Cairo 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 sitar 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 Mars to the jazz kids.
I played it at Cafe Wha.
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 Andrew Ashong & Theo Parrish. All the underground hits.
All Franke tracks. I heard you have a vinyl of every Electric Light Orchestra record on German import.
I heard that you have a white label of every seminal crunk 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 spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Birthday Party record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cal Tjader,
A Flock of Seagulls,
Hasil Adkins,
Fat Boys,
Maurizio,
Babytalk,
Fifty Foot Hose,
Fear,
Danielle Patucci,
The American Breed,
Fatback Band,
Ralphi Rosario,
MDC,
Minor Threat,
Rakim,
The Blackbyrds,
Orchestral Manoeuvres in the Dark,
Gerry Rafferty,
Robert Hood,
Mark Hollis,
John Holt,
Khruangbin,
The Dave Clark Five,
the Sonics,
Scratch Acid,
Man Parrish,
Depeche Mode,
Skarface,
Avey Tare,
John Lydon,
Minnie Riperton,
Andrew Hill,
DeepChord presents Echospace,
Al Stewart,
Monks,
Pussy Galore,
Stiv Bators,
The Toasters,
Amon Düül,
Symarip,
Hot Snakes,
Matthew Bourne,
Jerry Gold Smith,
Strawberry Alarm Clock,
Super Lover Cee & Casanova Rud,
UT,
Cecil Taylor,
Quadrant,
Masters at Work,
Rekid,
Robert Wyatt,
Derrick May,
The Blues Magoos,
Jeru the Damaja,
kango's stein massive,
Sister Nancy,
the Association,
Toni Rubio,
Captain Beefheart & His Magic Band,
EPMD,
The Associates,
The Monks, The Monks, The Monks, The Monks.
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.