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 Luxembourg and from London.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1970.
I'm losing my edge.
To all the kids in Halifax and Cairo.
I'm losing my edge to the art-school Milan 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 linndrum 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 Joe Smooth to the techno kids.
I played it at the Crocodile.
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 Wasted Youth. All the underground hits.
All Roy Ayers tracks. I heard you have a vinyl of every Flash Fearless record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül II,
Rahsaan Roland Kirk,
Negative Approach,
The Leaves,
The Names,
A Flock of Seagulls,
The Dave Clark Five,
Traffic Nightmare,
Black Pus,
the Slits,
Joy Division,
Motorama,
Sex Pistols,
Barclay James Harvest,
The Gap Band,
Electric Prunes,
Richard Hell and the Voidoids,
Kas Product,
The Dead C,
Bobby Sherman,
The Angels of Light,
the Human League,
The New Christs,
Derrick Morgan,
Wally Richardson,
Icehouse,
Cecil Taylor,
Rotary Connection,
Henry Cow,
Ituana,
Kerrie Biddell,
Nils Olav,
The Durutti Column,
Urselle,
Echospace,
Faraquet,
Pierre Henry,
Mr. Review,
James Chance & The Contortions,
The Golliwogs,
Rosa Yemen,
Eric Copeland,
DJ Sneak,
Michelle Simonal,
Larry & the Blue Notes,
Reagan Youth,
Joensuu 1685,
Alton Ellis,
Whodini,
Skaos,
Jimmy McGriff,
Neil Young & Crazy Horse,
Black Moon,
It's A Beautiful Day,
Deakin,
New Order,
The Knickerbockers,
Scion,
Pharoah Sanders,
Bush Tetras,
The Beau Brummels,
Sam Rivers, Sam Rivers, Sam Rivers, Sam Rivers.
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.