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 Andorra and from Toronto.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1976.
I'm losing my edge.
To all the kids in Milan and Johannesburg.
I'm losing my edge to the art-school Lyon 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Half Japanese 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 Animal Collective. All the underground hits.
All kango's stein massive tracks. I heard you have a vinyl of every Eyeless In Gaza record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a World's Most record.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Urselle,
Stockholm Monsters,
Ohio Players,
Gary Puckett & The Union Gap,
The Chocolate Watch Band,
Derrick Morgan,
The Gladiators,
Ronnie Foster,
Kauko Röyhkä ja Narttu,
James Chance & The Contortions,
DJ Sneak,
Funky Four + One,
Radiohead,
Amon Düül II,
Crash Course in Science,
Alison Limerick,
Arcadia,
Reuben Wilson,
The Slackers,
Kings Of Tomorrow,
Darondo,
Half Japanese,
Eli Mardock,
Gang Starr,
Quadrant,
The Standells,
Black Flag,
Mandrill,
Sly & The Family Stone,
Drexciya,
Icehouse,
Ituana,
Camouflage,
Japan,
Robert Hood,
The Young Rascals,
Loose Ends,
Fear,
Peter Gordon & Love of Life Orchestra,
Niagra,
Whodini,
48th St. Collective,
K-Klass,
Sound Behaviour,
The Moody Blues,
The Leaves,
Peter & Gordon,
T. Rex,
Hoover,
AZ,
Stetsasonic,
Amon Düül,
The Sonics,
The United States of America,
Pet Shop Boys,
Newcleus,
Oblivians,
Gichy Dan,
Ralphi Rosario,
Country Joe & The Fish,
Yellowson,
Deakin,
Letta Mbulu, Letta Mbulu, Letta Mbulu, Letta Mbulu.
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.