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 Guatemala and from Columbus.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Portland and Lille.
I'm losing my edge to the art-school Tehran 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 1968 at the first Can practice in a loft in Cologne.
I was working on the marimba 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 Dorothy Ashby to the jazz 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 the Germs. All the underground hits.
All Patti Smith tracks. I heard you have a vinyl of every Parry Music record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Blake Baxter,
The Busters,
the Association,
London Community Gospel Choir,
Robert Görl,
Lou Reed & Metallica,
Gary Puckett & The Union Gap,
10cc,
Von Mondo,
Roxette,
The Golliwogs,
CMW,
Accadde A,
Flipper,
Youth Brigade,
The American Breed,
The Gories,
The Offenders,
Notorious Big And Bone Thugs,
Idris Muhammad,
Vaughan Mason & Crew,
Gerry Rafferty,
Reuben Wilson,
Mr. Review,
The Gladiators,
Blossom Toes,
Roy Ayers Ubiquity,
Deutsch Amerikanische Freundschaft,
Josef K,
Inner City,
Big Daddy Kane,
Connie Case,
Interpol,
Kenny Larkin,
Moby Grape,
Röyhkä ja Rättö ja Lehtisalo,
Electric Prunes,
Gichy Dan,
Cluster,
Ralphi Rosario,
Jesper Dahlbäck,
Oblivians,
Urselle,
The Cowsills,
Sight & Sound,
Au Pairs,
Mars,
The Invisible,
Joyce Sims,
The Move,
Bootsy's Rubber Band,
Siouxsie and the Banshees,
Bush Tetras,
Dr. Dre and Snoop Doggy Dog,
Ponytail,
Peter & Gordon,
Drive Like Jehu,
The Real Kids,
Silicon Teens, Silicon Teens, Silicon Teens, Silicon Teens.
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.