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 Luxembourg and from Cairo.
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 1964 to 1972.
I'm losing my edge.
To all the kids in New York and New York.
I'm losing my edge to the art-school Houston 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 1968 at the first Can practice in a loft in Cologne.
I was working on the linndrum sounds with much patience.
I was there when Michael McDonald 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 Bill Wells to the disco kids.
I played it at Trash.
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 Strawberry Alarm Clock. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every Goldenarms record on German import.
I heard that you have a white label of every seminal techno 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 theremin and are throwing your macbook out the window because you want to make something real. You want to make a Dr. Dre and Snoop Doggy Dog record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Bar-Kays,
Red Lorry Yellow Lorry,
David Axelrod,
Donny Hathaway,
The Fugs,
Bronski Beat,
The Grass Roots,
Curtis Mayfield,
Colin Newman,
The Skatalites,
Swans,
The Human League,
T. Rex,
The Black Dice,
Swell Maps,
Lower 48,
La Düsseldorf,
Barbara Tucker,
Selector Dub Narcotic,
Rekid,
Accadde A,
Animal Collective,
The Jesus and Mary Chain,
Judy Mowatt,
Rhythm & Sound,
K-Klass,
Louis and Bebe Barron,
The Slits,
The Kinks,
Avey Tare's Slasher Flicks,
Fear,
Oblivians,
Al Stewart,
Nirvana,
James Chance & The Contortions,
Inner City,
The Alarm Clocks,
London Community Gospel Choir,
the Swans,
Neu!,
Tubeway Army,
the Normal,
Basic Channel,
New Order,
Bobby Hutcherson,
Faraquet,
New Age Steppers,
UT,
Manfred Mann's Earth Band,
Terrestrial Tones,
Terry Callier,
The Neon Judgement,
The United States of America,
Easy Going,
Jeff Mills,
Sun Ra Arkestra,
Josef K,
the Human League,
The Leaves,
Morten Harket,
The Electric Prunes,
Alice Coltrane,
Scan 7, Scan 7, Scan 7, Scan 7.
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.