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 Australia and from Winnipeg.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Cairo and Salvador.
I'm losing my edge to the art-school Tehran 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the sitar sounds with much patience.
I was there when Holger Czukay 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 Skriet 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 Ohio Players. All the underground hits.
All The Offenders tracks. I heard you have a vinyl of every ABBA record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Kenny Larkin record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eyeless In Gaza,
The Selecter,
Grandmaster Flash,
Accadde A,
Deutsch Amerikanische Freundschaft,
Dual Sessions,
DeepChord presents Echospace,
Robert Wyatt,
Rekid,
Pierre Henry,
Lou Reed,
Q65,
Pole,
Sunsets and Hearts,
Sound Behaviour,
Brand Nubian,
Kas Product,
Patti Smith,
Bang on a Can All-Stars,
Avey Tare & Kría Brekkan,
Tim Buckley,
Don Cherry,
Animal Collective,
Wasted Youth,
Parry Music,
Warsaw,
Deepchord,
Masters at Work,
Roger Hodgson,
Crime,
the Slits,
Roy Ayers Ubiquity,
Fela Kuti,
Jeff Lynne,
Cluster,
Pulsallama,
Sällskapet,
Fluxion,
Easy Going,
Joe Smooth,
cv313,
Can,
Richard Hell and the Voidoids,
The Martian,
Absolute Body Control,
Orchestral Manoeuvres in the Dark,
Max Romeo,
Intrusion,
Terror Squad Feat. Camron,
The Monochrome Set,
the Fania All-Stars,
Scan 7,
Organ,
Faust,
Lonnie Liston Smith,
Blancmange,
Lee Hazlewood,
Los Fastidios,
Skriet,
Prince Buster,
Urselle,
Adolescents, Adolescents, Adolescents, Adolescents.
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.