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 Liechtenstein and from London.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Lagos and Bologna.
I'm losing my edge to the art-school Houston 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 oboe sounds with much patience.
I was there when Donald Fagen 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 Bob Dylan to the electroclash 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 Unrelated Segments. All the underground hits.
All The Buckinghams tracks. I heard you have a vinyl of every Au Pairs 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 '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Blake Baxter record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Heavy D & The Boyz,
the Soft Cell,
Can,
Nirvana,
Siouxsie and the Banshees,
Severed Heads,
Magma,
Section 25,
Larry & the Blue Notes,
The Stooges,
Janne Schatter,
Bush Tetras,
Albert Ayler,
New Age Steppers,
the Association,
The Knickerbockers,
The Slackers,
Godley & Creme,
Sun Ra Arkestra,
The New Christs,
Kayak,
Avey Tare's Slasher Flicks,
Crispian St. Peters,
The Smoke,
T.S.O.L.,
Fat Boys,
Rod Modell,
Neil Young,
Eric Dolphy,
Lungfish,
The Martian,
Piero Umiliani,
Drive Like Jehu,
AZ,
Byron Stingily,
Maleditus Sound,
Zero Boys,
The Gap Band,
Oneida,
Flamin' Groovies,
Vladislav Delay,
Flipper,
Fela Kuti,
Terry Callier,
Soft Cell,
Patti Smith,
Eurythmics,
Notorious BIG live in Amsterdam,
Easy Going,
X-102,
Warsaw,
Ronan,
Thinking Fellers Union Local 282,
Howard Jones,
Scratch Acid,
Franke,
Duran Duran,
Moss Icon,
Monolake,
Clear Light,
June Days,
cv313,
Y Pants,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.