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 Uganda and from Toronto.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Philadelphia and Hong Kong.
I'm losing my edge to the art-school Beijing 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the mellotron sounds with much patience.
I was there when Lou Reed 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 Art Ensemble Of Chicago to the rock kids.
I played it at the Hacienda.
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 Names. All the underground hits.
All The Electric Prunes tracks. I heard you have a vinyl of every Faraquet record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Babytalk record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fortunes,
Harry Pussy,
Dark Day,
Accadde A,
Sandy B,
Sad Lovers and Giants,
Brand Nubian,
Drive Like Jehu,
Peter & Gordon,
Pylon,
Art Ensemble Of Chicago,
Ultra Naté,
Don Cherry,
The Durutti Column,
Magazine,
Shuggie Otis,
Brass Construction,
Barbara Tucker,
Arcadia,
Gang Starr,
Underground Resistance,
Matthew Halsall,
Terror Squad Feat. Camron,
Tears for Fears,
Janne Schatter,
Scientists,
The Tremeloes,
Maleditus Sound,
Minnie Riperton,
Matthew Bourne,
Alphaville,
Rod Modell,
Fear,
Kerri Chandler,
Isaac Hayes,
The Fire Engines,
Crash Course in Science,
Tommy Roe,
D'Angelo,
the Association,
Subhumans,
Selector Dub Narcotic,
John Cale,
Spoonie Gee,
Black Moon,
Eddi Front,
The Kinks,
The Dirtbombs,
Au Pairs,
The Beau Brummels,
The Toasters,
In Retrospect,
Deutsch Amerikanische Freundschaft,
Yusef Lateef,
Scion,
June Days,
The Mojo Men,
Lindisfarne,
Ultramagnetic MC's,
The Smoke,
Major Organ And The Adding Machine,
MDC, MDC, MDC, MDC.
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.