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 Libya and from Accra.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Cairo and Taipei.
I'm losing my edge to the art-school Bremen 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 mellotron sounds with much patience.
I was there when Donald Fagen 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 Electric Prunes 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 Half Japanese. All the underground hits.
All Fluxion tracks. I heard you have a vinyl of every Bobby Byrd 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 '60s cut and another box set from the '90s.
I hear you're buying a 808 and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cal Tjader,
Be Bop Deluxe,
Agent Orange,
Dennis Brown,
Ajijia Myrayebe,
Theoretical Girls,
the Germs,
Babytalk,
The Sound,
Liaisons Dangereuses,
Sex Pistols,
Jacques Brel,
A Flock of Seagulls,
Newcleus,
Little Man,
Japan,
Sad Lovers and Giants,
Henry Cow,
The Wake,
Guru Guru,
The Velvet Underground,
Gang Gang Dance,
Black Moon,
Lee Hazlewood,
Eric Copeland,
Average White Band,
Sunsets and Hearts,
Visage,
Deutsch Amerikanische Freundschaft,
Porter Ricks,
Gang Green,
Oblivians,
The Leaves,
Sugar Minott,
Soul II Soul,
Agitation Free,
Underground Resistance,
Louis and Bebe Barron,
Goldenarms,
Avey Tare's Slasher Flicks,
Shoche,
Thinking Fellers Union Local 282,
The Tremeloes,
Depeche Mode,
Rakim,
Toni Rubio,
Michelle Simonal,
Mad Mike,
Talk Talk,
Röyhkä ja Rättö ja Lehtisalo,
David Axelrod,
Pete Rock & C.L. Smooth,
Trumans Water,
Eric B and Rakim,
Radiohead,
Gil Scott Heron,
Kevin Saunderson,
Minny Pops,
The Five Americans,
Bobbi Humphrey,
Lou Reed,
Marmalade, Marmalade, Marmalade, Marmalade.
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.