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 Antigua and from Sao Paulo.
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 1974.
I'm losing my edge.
To all the kids in Spokane and Edmonton.
I'm losing my edge to the art-school Taipei 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 sitar 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 Standells to the dance kids.
I played it at CBGB's.
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 Teenage Jesus and the Jerks. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every James White and The Blacks 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 chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Country Joe & The Fish record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
The J.B.'s,
Avey Tare,
The Martian,
Marc Almond,
Bush Tetras,
Brass Construction,
Country Teasers,
Model 500,
Eve St. Jones,
The Five Americans,
Sly & The Family Stone,
Sugar Minott,
Hot Snakes,
Scan 7,
Arcadia,
Sam Rivers,
The Offenders,
Bad Manners,
World's Most,
Sex Pistols,
Vainqueur,
Half Japanese,
Oblivians,
Maurizio,
Bobby Sherman,
Gang Starr,
Dave Gahan,
The Electric Prunes,
Laurel Aitken,
The Sound,
Zapp,
Cal Tjader,
Erasure,
Roger Hodgson,
Rosa Yemen,
the Germs,
Zero Boys,
Goldenarms,
Letta Mbulu,
The Black Dice,
Rites of Spring,
David Bowie,
Agitation Free,
Chrome,
June Days,
Parry Music,
Freddie Wadling,
Joyce Sims,
Andrew Ashong & Theo Parrish,
The Fortunes,
The Alarm Clocks,
Vladislav Delay,
Sarah Menescal,
Sun Ra,
Rapeman,
The Monochrome Set,
Bluetip,
Jesper Dahlback,
The Vogues,
Cabaret Voltaire,
Chris & Cosey,
Soft Machine, Soft Machine, Soft Machine, Soft Machine.
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.