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 India and from Cairo.
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 1975.
I'm losing my edge.
To all the kids in New York and Mexico City.
I'm losing my edge to the art-school Manila 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 marimba sounds with much patience.
I was there when Tom Verlaine 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 Martian to the grunge kids.
I played it at the Troubador.
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 Amazonics. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every Idris Muhammad record on German import.
I heard that you have a white label of every seminal jazz 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 mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Freddie Wadling record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobbi Humphrey,
Funky Four + One,
Sonny Sharrock,
Simply Red,
The Dirtbombs,
the Swans,
The Index,
Motorama,
Surgeon,
The Star Department,
the Normal,
Jacques Brel,
Liaisons Dangereuses,
Visionaries,LMNO, T- Love & Iriscience,
Jacob Miller,
Warren Ellis,
Bang On A Can,
Joyce Sims,
The Walker Brothers,
DNA,
Dave Gahan,
Monolake,
Das Ding,
Bob Dylan,
Justin Hinds & The Dominoes,
Jeff Mills,
The Birthday Party,
Thompson Twins,
Ultimate Spinach,
Lindisfarne,
Grauzone,
Schoolly D,
Kenny Larkin,
Röyhkä ja Rättö ja Lehtisalo,
Whodini,
Aswad,
Toni Rubio,
Peter Gordon & Love of Life Orchestra,
Anakelly,
Half Japanese,
Terry Callier,
Crispy Ambulance,
Drive Like Jehu,
U.S. Maple,
Bauhaus,
Grandmaster Flash,
Oppenheimer Analysis,
Spandau Ballet,
Kurtis Blow,
Fear,
Mad Mike,
Roy Ayers,
Notorious BIG live in Amsterdam,
Sly & The Family Stone,
Soul II Soul,
Chris Corsano,
Cal Tjader,
The J.B.'s,
Agitation Free,
Soul Sonic Force,
Wings,
The Skatalites,
Strawberry Alarm Clock,
Lungfish, Lungfish, Lungfish, Lungfish.
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.