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 Philippines and from Columbus.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Columbus and Philadelphia.
I'm losing my edge to the art-school Mexico City 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 1973 at the first Television practice in a loft in New York.
I was working on the mellotron sounds with much patience.
I was there when David Bowie 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 Slackers to the techno kids.
I played it at the 40 Watt.
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 Harpers Bizarre. All the underground hits.
All Crime tracks. I heard you have a vinyl of every Larry & the Blue Notes record on German import.
I heard that you have a white label of every seminal funk 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 an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Motions,
Popol Vuh,
Pharaoh Sanders and the Fire Engines,
Idris Muhammad,
Andrew Ashong & Theo Parrish,
The Cramps,
Eli Mardock,
Slave,
Nik Kershaw,
Avey Tare & Kría Brekkan,
Godley & Creme,
Orchestral Manoeuvres in the Dark,
Larry & the Blue Notes,
Siouxsie and the Banshees,
Todd Terry,
Mark Hollis,
Mars,
Lou Reed,
Gastr Del Sol,
Flash Fearless,
Jacques Brel,
The Cowsills,
The Modern Lovers,
Lucky Dragons,
Lou Christie,
Girls At Our Best!,
Oppenheimer Analysis,
Gabor Szabo,
Y Pants,
Gang Green,
Judy Mowatt,
The Shadows of Knight,
N.O.R.E. Featuring Pharrell,
Kango’s Stein Massive,
Donald Byrd,
Second Layer,
The Beau Brummels,
Electric Prunes,
Little Man,
Unwound,
T.S.O.L.,
Section 25,
Dorothy Ashby,
Nas,
Bobby Hutcherson,
Eric Dolphy,
Gang of Four,
Pagans,
UT,
Sandy B,
The Star Department,
Louis and Bebe Barron,
Faust,
Jacob Miller,
Liliput,
The American Breed,
Terry Callier,
Ludus,
Kaleidoscope,
The Real Kids,
Alison Limerick,
Andrew Hill, Andrew Hill, Andrew Hill, Andrew Hill.
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.