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 Turkmenistan and from Taipei.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Manila and Accra.
I'm losing my edge to the art-school Portland 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 guitar 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 The Modern Lovers to the techno 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 Amon Düül. All the underground hits.
All The Tremeloes tracks. I heard you have a vinyl of every DJ Style record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ralphi Rosario,
Flipper,
Donny Hathaway,
Section 25,
Bobby Byrd,
ABBA,
Television,
Connie Case,
Pantytec,
Rhythim Is Rhythim,
Sex Pistols,
Grey Daturas,
In Retrospect,
The Raincoats,
D'Angelo,
The Walker Brothers,
Clear Light,
Tom Boy,
Alice Coltrane,
Roy Ayers,
Frankie Knuckles,
Suburban Knight,
Excepter,
Kerri Chandler,
Magma,
Boz Scaggs,
CMW,
Deutsch Amerikanische Freundschaft,
The Skatalites,
The Move,
Jimmy McGriff,
The Pretty Things,
Bauhaus,
Au Pairs,
Eric Copeland,
Marine Girls,
Aural Exciters,
MC5,
Lakeside,
Andrew Hill,
Robert Hood,
The Fire Engines,
Howard Jones,
Bill Near,
The Last Poets,
Max Romeo,
Notorious BIG live in Amsterdam,
Barrington Levy,
Bush Tetras,
Bill Wells,
Jawbox,
Brand Nubian,
Andrew Ashong & Theo Parrish,
The Misunderstood,
Kurtis Blow,
Thinking Fellers Union Local 282,
Drive Like Jehu,
Matthew Halsall,
Symarip,
Quantec,
Rowland S Howard / Lydia Lunch,
Charles Mingus,
Echo & the Bunnymen,
Tears for Fears, Tears for Fears, Tears for Fears, Tears for Fears.
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.