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 El Salvador and from Glasgow.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Halifax and Sao Paulo.
I'm losing my edge to the art-school Mexico City 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 rhodes 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 Kurtis Blow to the rap kids.
I played it at the Spitz.
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 Ossler. All the underground hits.
All Electric Prunes tracks. I heard you have a vinyl of every Dual Sessions record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Names record.
I hear that you and your band have sold your harpsichord and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pharoah Sanders,
Cybotron,
Gerry Rafferty,
Chris Corsano,
The Velvet Underground,
The Fuzztones,
Vaughan Mason & Crew,
The Birthday Party,
Shoche,
London Community Gospel Choir,
Ludus,
The Kinks,
the Soft Cell,
Lower 48,
U.S. Maple,
Deakin,
Make Up,
Grandmaster Flash,
Mad Mike,
Oneida,
Justin Hinds & The Dominoes,
Moebius,
The Fugs,
Gichy Dan,
Arthur Verocai,
Rapeman,
The Mojo Men,
Jerry Gold Smith,
Liaisons Dangereuses,
Letta Mbulu,
Swans,
Wasted Youth,
the Slits,
Chris & Cosey,
Malaria!,
Mr. Review,
Masters at Work,
Visionaries,LMNO, T- Love & Iriscience,
Alice Coltrane,
Model 500,
MC5,
Youth Brigade,
DJ Style,
Fort Wilson Riot,
Kayak,
Pole,
Bang On A Can,
Ash Ra Tempel,
Marine Girls,
Pylon,
Avey Tare & Kría Brekkan,
The Alarm Clocks,
Rotary Connection,
Moss Icon,
Cal Tjader,
Grauzone,
Banda Bassotti,
Strawberry Alarm Clock,
F. McDonald,
Eddi Front,
Essential Logic,
The Men They Couldn't Hang,
Junior Murvin, Junior Murvin, Junior Murvin, Junior Murvin.
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.