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 Algeria and from Madrid.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Edmonton and Accra.
I'm losing my edge to the art-school Winnipeg 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 Captain Beefheart 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 Gap Band to the dance kids.
I played it at Cafe Wha.
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 Mr. Review. All the underground hits.
All Cymande tracks. I heard you have a vinyl of every Fear record on German import.
I heard that you have a white label of every seminal rap 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 marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a X-102 record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
E-Dancer,
Rod Modell,
Barry Ungar,
X-Ray Spex,
Soul Sonic Force,
Minor Threat,
Sun Ra Arkestra,
Arab on Radar,
Fluxion,
Albert Ayler,
The American Breed,
Louis and Bebe Barron,
The Birthday Party,
Liaisons Dangereuses,
the Bar-Kays,
Niagra,
The Beau Brummels,
Alice Coltrane,
Gabor Szabo,
The Jesus and Mary Chain,
The Last Poets,
Index,
Depeche Mode,
The Fall,
Dennis Brown,
The Slackers,
Liliput,
Tim Buckley,
Roxy Music,
Excepter,
Juan Atkins,
Strawberry Alarm Clock,
Minnie Riperton,
Q65,
Cheater Slicks,
Joy Division,
Magma,
Sparks,
Mary Jane Girls,
Gary Puckett & The Union Gap,
The Fugs,
Morten Harket,
Crispy Ambulance,
Teenage Jesus and the Jerks,
Au Pairs,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Michelle Simonal,
Archie Shepp,
John Foxx,
Roger Hodgson,
Glambeats Corp.,
The Doors,
Livin' Joy,
Joyce Sims,
Lou Christie,
Althea and Donna,
Rites of Spring,
The Happenings,
Max Romeo,
The New Christs,
The Modern Lovers, The Modern Lovers, The Modern Lovers, The Modern Lovers.
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.