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 Romania and from Edmonton.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Spokane and Mumbai.
I'm losing my edge to the art-school Columbus 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 güiro sounds with much patience.
I was there when Robert Palmer 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 Ten City to the electroclash kids.
I played it at the Crocodile.
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 Fort Wilson Riot. All the underground hits.
All The Index tracks. I heard you have a vinyl of every The Mighty Diamonds 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 '50s cut and another box set from the '70s.
I hear you're buying a clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Rotary Connection record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brand Nubian,
Marine Girls,
Bauhaus,
Make Up,
The Remains,
KRS-One,
Steve Hackett,
Isaac Hayes,
The West Coast Pop Art Experimental Band,
Jacques Brel,
Thompson Twins,
Rakim,
the Human League,
Heaven 17,
Lightning Bolt,
The Doobie Brothers,
Bobby Byrd,
Electric Light Orchestra,
JFA,
Ralphi Rosario,
The Invisible,
Basic Channel,
The Pretty Things,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Neil Young & Crazy Horse,
Barclay James Harvest,
Davy DMX,
Smog,
Crime,
Ultramagnetic MC's,
Mantronix,
Slave,
Bush Tetras,
The Dead C,
The Men They Couldn't Hang,
Lee Hazlewood,
Albert Ayler,
Black Sheep,
Kerrie Biddell,
U.S. Maple,
Liliput,
The New Christs,
Drive Like Jehu,
Dark Day,
Lebanon Hanover,
Bill Near,
Procol Harum,
Traffic Nightmare,
Outsiders,
New York Dolls,
Roy Ayers,
Larry & the Blue Notes,
Magazine,
Zero Boys,
Jandek,
David McCallum,
Charles Mingus,
Ronan,
Kings Of Tomorrow,
Notorious BIG live in Amsterdam,
Frankie Knuckles,
Monolake, Monolake, Monolake, Monolake.
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.