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 Liechtenstein and from Sao Paulo.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Shanghai and London.
I'm losing my edge to the art-school Calgary 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 marimba 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 Freddie Wadling to the crunk 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 Toni Rubio. All the underground hits.
All E-Dancer tracks. I heard you have a vinyl of every Marmalade 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 '60s cut and another box set from the '80s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a cv313 record.
I hear that you and your band have sold your oboe and bought a güiro.
I hear that you and your band have sold your güiro and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Nation of Ulysses,
Easy Going,
Intrusion,
Joyce Sims,
the Slits,
DJ Sneak,
The Trojans,
Make Up,
Ludus,
Loose Ends,
Icehouse,
Peter Gordon & Love of Life Orchestra,
Harmonia,
Wings,
Althea and Donna,
Shuggie Otis,
Liliput,
Depeche Mode,
Juan Atkins,
Hasil Adkins,
Dawn Penn,
Sonny Sharrock,
Bobbi Humphrey,
The Selecter,
Hot Snakes,
The Slackers,
Wolf Eyes,
Sight & Sound,
cv313,
Sly & The Family Stone,
The Misunderstood,
Popol Vuh,
Alison Limerick,
The Cramps,
Amazonics,
Thinking Fellers Union Local 282,
Massinfluence,
Thee Headcoats,
Gang Gang Dance,
Absolute Body Control,
Magazine,
The Pop Group,
Graham Central Station,
Funky Four + One,
The Star Department,
Man Parrish,
Black Moon,
Boogie Down Productions,
Orchestral Manoeuvres in the Dark,
Qualms,
Robert Hood,
Marcia Griffiths,
Glambeats Corp.,
Flipper,
Avey Tare's Slasher Flicks,
Fad Gadget,
Heavy D & The Boyz,
Main Source,
The Seeds,
Harpers Bizarre,
Aswad,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.