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 France and from Portland.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Lyon and Paris.
I'm losing my edge to the art-school Spokane 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 organ 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 Sandy B to the punk 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 Brass Construction. All the underground hits.
All Derrick May tracks. I heard you have a vinyl of every Flash Fearless 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 '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a John Foxx record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Flag,
The Human League,
The Leaves,
The Zeros,
Bad Manners,
Bobby Womack,
Index,
The Doors,
Thinking Fellers Union Local 282,
Whodini,
Moebius,
Aaron Thompson,
Throbbing Gristle,
New Order,
Scan 7,
Spandau Ballet,
Colin Newman,
Gil Scott-Heron & Brian Jackson,
the Association,
The Motions,
Gang Green,
Tomorrow,
Q65,
The West Coast Pop Art Experimental Band,
Rapeman,
Bill Near,
Qualms,
Angels of Light & Akron/Family,
UT,
Cymande,
The Index,
The Modern Lovers,
Terrestrial Tones,
Zapp,
The Beau Brummels,
Organ,
These Immortal Souls,
Ajijia Myrayebe,
Nirvana,
Soul II Soul,
The Doobie Brothers,
Smog,
The Black Dice,
The Barracudas,
Pagans,
Ossler,
Darondo,
Kool Moe Dee,
Eric Copeland,
June of 44,
The Pretty Things,
Derrick Morgan,
Jesper Dahlbäck,
Jerry's Kids,
Arcadia,
Soul Sonic Force,
Liliput,
Minutemen,
Althea and Donna,
Bobby Hutcherson,
Main Source,
Chris Corsano,
Echospace,
Theoretical Girls, Theoretical Girls, Theoretical Girls, Theoretical Girls.
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.