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 Bhutan and from Manchester.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Manchester.
I'm losing my edge to the art-school Copenhagen 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 synthesizer 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 Mighty Diamonds to the rap kids.
I played it at the Spitz.
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 Tim Buckley. All the underground hits.
All Slave tracks. I heard you have a vinyl of every Brick record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Au Pairs,
Liaisons Dangereuses,
John Lydon,
Michelle Simonal,
Stockholm Monsters,
Roxette,
The Real Kids,
Fear,
Peter Gordon & Love of Life Orchestra,
D'Angelo,
Davy DMX,
London Community Gospel Choir,
Stereo Dub,
Bad Manners,
Desert Stars,
The Buckinghams,
Delta 5,
Roxy Music,
Con Funk Shun,
Alice Coltrane,
the Soft Cell,
Cecil Taylor,
Louis and Bebe Barron,
The Seeds,
Porter Ricks,
Eyeless In Gaza,
Lightning Bolt,
Stetsasonic,
Skarface,
The Star Department,
Selector Dub Narcotic,
A Certain Ratio,
Nik Kershaw,
Intrusion,
Tim Buckley,
Mars,
Maurizio,
Ultravox,
X-101,
Sam Rivers,
Spoonie Gee,
Boz Scaggs,
Toni Rubio,
Aural Exciters,
Livin' Joy,
The Invisible,
Interpol,
Q65,
Sexual Harrassment,
Deutsch Amerikanische Freundschaft,
Fifty Foot Hose,
Todd Rundgren,
Marine Girls,
Ronan,
The Happenings,
Jerry's Kids,
Judy Mowatt,
Aloha Tigers,
Talk Talk,
Pulsallama,
Erykah Badu, Erykah Badu, Erykah Badu, Erykah Badu.
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.