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 Denmark and from Shanghai.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Bremen and Tokyo.
I'm losing my edge to the art-school Mumbai 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the clarinet 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 The New Christs to the disco kids.
I played it at the Astoria.
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 Glambeats Corp.. All the underground hits.
All Barbara Tucker tracks. I heard you have a vinyl of every Sight & Sound 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 '80s 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 Boogie Down Productions record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fall,
Rahsaan Roland Kirk,
Kayak,
Jesper Dahlback,
Whodini,
Sällskapet,
the Human League,
Tres Demented,
David Bowie,
The Real Kids,
Robert Görl,
Ohio Players,
Icehouse,
Unrelated Segments,
The Detroit Cobras,
Al Stewart,
Lee Hazlewood,
Bobbi Humphrey,
Pantaleimon,
Loose Ends,
Bill Near,
Jacques Brel,
The Searchers,
Aaron Thompson,
Major Organ And The Adding Machine,
Radio Birdman,
Camouflage,
Fugazi,
Godley & Creme,
Scientists,
Ralphi Rosario,
Ash Ra Tempel,
The Fuzztones,
Audionom,
Lou Reed,
Lower 48,
The Toasters,
Lakeside,
The Tremeloes,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
John Coltrane,
Deadbeat,
Neu!,
Brass Construction,
Janne Schatter,
The Dave Clark Five,
Sight & Sound,
Mark Hollis,
Art Ensemble Of Chicago,
Ice-T,
Swans,
Ultra Naté,
Roy Ayers Ubiquity,
Grey Daturas,
The Durutti Column,
The Zeros,
Gabor Szabo,
Interpol,
Niagra,
Boz Scaggs,
Funkadelic, Funkadelic, Funkadelic, Funkadelic.
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.