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 Tonga and from Glasgow.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Glasgow and Philadelphia.
I'm losing my edge to the art-school Copenhagen 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Alice Coltrane to the funk kids.
I played it at CBGB's.
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 Röyhkä ja Rättö ja Lehtisalo. All the underground hits.
All a-ha tracks. I heard you have a vinyl of every Matthew Halsall 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 '50s cut and another box set from the '80s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Ultra Naté record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gary Puckett & The Union Gap,
Can,
Cal Tjader,
The Music Machine,
Severed Heads,
The Cowsills,
Khruangbin,
Strawberry Alarm Clock,
Mantronix,
The American Breed,
Thompson Twins,
Deutsch Amerikanische Freundschaft,
The Modern Lovers,
T.S.O.L.,
Von Mondo,
Ituana,
Rod Modell,
kango's stein massive,
The Tremeloes,
Guru Guru,
Jacob Miller,
Cabaret Voltaire,
CMW,
Yazoo,
Masters at Work,
Mr. Review,
Public Image Ltd.,
Q65,
Chris & Cosey,
Frankie Knuckles,
Crash Course in Science,
Kas Product,
The Mojo Men,
Surgeon,
John Cale,
David Bowie,
Wally Richardson,
Radiopuhelimet,
Andrew Ashong & Theo Parrish,
The Invisible,
Royal Trux,
DJ Style,
One Last Wish,
Country Teasers,
X-Ray Spex,
L. Decosne,
New York Dolls,
The Cosmic Jokers,
Theoretical Girls,
Peter Gordon & Love of Life Orchestra,
World's Most,
The Remains,
Toni Rubio,
Soft Cell,
Pussy Galore,
The Fortunes,
Sonic Youth,
Flamin' Groovies,
Stereo Dub,
Man Eating Sloth,
Sun Ra,
Mandrill, Mandrill, Mandrill, Mandrill.
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.