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 Cyprus and from Bologna.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Salvador and Lille.
I'm losing my edge to the art-school Accra 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 mellotron sounds with much patience.
I was there when Michael McDonald 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 Harry Pussy to the punk kids.
I played it at the Troubador.
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 The Moody Blues. All the underground hits.
All Black Sheep tracks. I heard you have a vinyl of every John Foxx record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Toasters record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Walker Brothers,
Oppenheimer Analysis,
Ultra Naté,
Slick Rick,
Thompson Twins,
Half Japanese,
The Monochrome Set,
Bobby Sherman,
Can,
The Modern Lovers,
Thee Headcoats,
Minny Pops,
Grandmaster Flash,
Amon Düül II,
Anthony Braxton,
The Index,
Flipper,
The Offenders,
Faraquet,
Pantaleimon,
Kool Moe Dee,
Make Up,
Bang on a Can All-Stars,
Nation of Ulysses,
UT,
Mark Hollis,
Glenn Branca,
Pole,
Neil Young & Crazy Horse,
Kenny Larkin,
the Slits,
Unrelated Segments,
Country Joe & The Fish,
Fear,
Sticky Fingaz feat. Raekwon,
The Cure,
Jacques Brel,
The Jesus and Mary Chain,
Chris Corsano,
Flash Fearless,
Ossler,
Fifty Foot Hose,
Subhumans,
Niagra,
Pharaoh Sanders and the Fire Engines,
the Normal,
Boogie Down Productions,
Bad Manners,
Boz Scaggs,
Flamin' Groovies,
The Seeds,
The Mighty Diamonds,
Echospace,
One Last Wish,
Isaac Hayes,
Mission of Burma,
Moss Icon,
Crooked Eye,
Mars,
Roy Ayers,
Avey Tare's Slasher Flicks,
Television,
Essential Logic, Essential Logic, Essential Logic, Essential Logic.
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.