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 Bolivia and from Stockholm.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1974.
I'm losing my edge.
To all the kids in Lille and Mexico City.
I'm losing my edge to the art-school Johannesburg 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 marimba 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 Gary Puckett & The Union Gap to the dance 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 Goldenarms. All the underground hits.
All Alice Coltrane tracks. I heard you have a vinyl of every Monolake 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 '60s cut and another box set from the '70s.
I hear you're buying a guitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a MC5 record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lonnie Liston Smith,
Das Ding,
Mr. Review,
Notorious BIG live in Amsterdam,
Peter and Kerry,
48th St. Collective,
Cluster,
Eden Ahbez,
Hot Snakes,
The Pretty Things,
The Move,
The Alarm Clocks,
Bang on a Can All-Stars,
UT,
Albert Ayler,
Rosa Yemen,
Fatback Band,
The Tremeloes,
Art Ensemble Of Chicago,
Stockholm Monsters,
Alphaville,
Supertramp,
Can,
Procol Harum,
Steve Hackett,
Lalann,
Delta 5,
The J.B.'s,
Hashim,
Moebius,
Pussy Galore,
Ash Ra Tempel,
Barclay James Harvest,
Lakeside,
The Standells,
Lucky Dragons,
Jesper Dahlback,
The Divine Comedy,
Ultimate Spinach,
Goldenarms,
Motorama,
Magazine,
Avey Tare,
Depeche Mode,
The Detroit Cobras,
Judy Mowatt,
Rufus Thomas,
The Mummies,
Eyeless In Gaza,
Bobby Hutcherson,
Excepter,
Drive Like Jehu,
Absolute Body Control,
Marc Romboy vs. Booka Shade,
Crime,
The Martian,
Negative Approach,
The Selecter,
Quantec,
Manfred Mann's Earth Band,
Black Moon,
Wings, Wings, Wings, Wings.
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.