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 Cape Verde and from Spokane.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Halifax and Taipei.
I'm losing my edge to the art-school Philadelphia 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 organ sounds with much patience.
I was there when Nile Rodgers 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 John Holt to the dance 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 Reuben Wilson. All the underground hits.
All Make Up tracks. I heard you have a vinyl of every Khruangbin record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Romboy vs. Booka Shade,
Juan Atkins,
Jeru the Damaja,
Urselle,
Nick Cave & The Bad Seeds,
James Chance & The Contortions,
Eden Ahbez,
Rowland S Howard / Lydia Lunch,
Country Teasers,
Moby Grape,
John Foxx,
Wolf Eyes,
Bush Tetras,
Lou Reed,
David McCallum,
Gerry Rafferty,
Radiopuhelimet,
Ponytail,
The Wake,
Moebius,
Tomorrow,
Wasted Youth,
Wire,
Rufus Thomas,
Hasil Adkins,
Public Image Ltd.,
Man Eating Sloth,
Kaleidoscope,
Country Joe & The Fish,
Blancmange,
Eric Copeland,
Judy Mowatt,
Sister Nancy,
The Seeds,
Scion,
Lou Reed & Metallica,
Shoche,
John Coltrane,
Peter & Gordon,
Trumans Water,
Cabaret Voltaire,
Be Bop Deluxe,
Pulsallama,
Harpers Bizarre,
Schoolly D,
Scrapy,
Pussy Galore,
Kayak,
Gil Scott-Heron & Brian Jackson,
The Litter,
AZ,
Moss Icon,
Zero Boys,
Audionom,
The Cure,
Flash Fearless,
John Holt,
Deepchord,
U.S. Maple,
Lakeside,
Severed Heads, Severed Heads, Severed Heads, Severed Heads.
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.