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 Seychelles and from New York.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Spokane and New York.
I'm losing my edge to the art-school Philadelphia 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 linndrum 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 Soul II Soul to the electroclash 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 Pharoah Sanders. All the underground hits.
All Cheater Slicks tracks. I heard you have a vinyl of every Q65 record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Kinks record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Pus,
Von Mondo,
Grauzone,
Slick Rick,
10cc,
The Dirtbombs,
Juan Atkins,
The Mojo Men,
Pole,
the Soft Cell,
Stereo Dub,
The Tremeloes,
Cecil Taylor,
Massinfluence,
Ultra Naté,
John Lydon,
K-Klass,
Beasts of Bourbon,
Scan 7,
Bauhaus,
Cabaret Voltaire,
ABC,
Porter Ricks,
The Pretty Things,
Lyres,
Crispian St. Peters,
PIL,
Neil Young,
Brass Construction,
Groovy Waters,
Amazonics,
China Crisis,
Avey Tare,
Curtis Mayfield,
Ultravox,
Fort Wilson Riot,
Maleditus Sound,
Lalo Schifrin,
Alice Coltrane,
Mad Mike,
Moby Grape,
Sun City Girls,
Dead Boys,
Bobby Sherman,
The Fall,
Negative Approach,
Reagan Youth,
Bush Tetras,
Metal Thangz,
Spoonie Gee,
Tim Buckley,
Section 25,
Wally Richardson,
Black Bananas,
Connie Case,
the Association,
The Techniques,
The Sound,
Aaron Thompson,
the Sonics,
Rotary Connection,
Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine, Major Organ And The Adding Machine.
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.