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 Venezuela and from Toronto.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Calgary and Tokyo.
I'm losing my edge to the art-school Paris 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the spring reverb 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 The Invisible to the techno 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 Public Enemy. All the underground hits.
All Bang On A Can tracks. I heard you have a vinyl of every AZ record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a sitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minutemen,
Radiopuhelimet,
Selector Dub Narcotic,
Nils Olav,
Matthew Halsall,
Kayak,
Metal Thangz,
Orchestral Manoeuvres in the Dark,
Loose Ends,
Alton Ellis,
The Royal Family And The Poor,
The Fuzztones,
Lou Reed & John Cale,
Freddie Wadling,
Lyres,
Andrew Hill,
Fatback Band,
Ice-T,
Deutsch Amerikanische Freundschaft,
The Selecter,
Vladislav Delay,
Jeff Lynne,
the Fania All-Stars,
Gregory Isaacs,
Yusef Lateef,
Anthony Braxton,
Curtis Mayfield,
The Dead C,
La Düsseldorf,
Public Enemy,
Rufus Thomas,
Crime,
Chrome,
Rowland S Howard / Lydia Lunch,
Minor Threat,
Brass Construction,
Roy Ayers Ubiquity,
Unrelated Segments,
Swans,
Magazine,
Amon Düül II,
Vaughan Mason & Crew,
The Associates,
Lizzy Mercier Descloux,
Agent Orange,
Spoonie Gee,
Boredoms,
Sunsets and Hearts,
Cal Tjader,
The Fall,
Arcadia,
Country Teasers,
DeepChord presents Echospace,
Quando Quango,
The Star Department,
The Knickerbockers,
Morten Harket,
Ten City,
Laurel Aitken,
Harpers Bizarre,
Gian Franco Pienzio,
Skaos,
The Cure, The Cure, The Cure, The Cure.
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.