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 Congo and from Beijing.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Seoul and Calgary.
I'm losing my edge to the art-school New York 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the güiro 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 Erasure to the rock kids.
I played it at the Astoria.
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 Rhythm & Sound. All the underground hits.
All Black Flag tracks. I heard you have a vinyl of every Unrelated Segments record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The West Coast Pop Art Experimental Band record.
I hear that you and your band have sold your mellotron and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Judy Mowatt,
Marc Almond,
Marine Girls,
Goldenarms,
B.T. Express,
The Detroit Cobras,
the Soft Cell,
Los Fastidios,
Mr. Review,
Johnny Clarke,
Amon Düül II,
the Swans,
Roy Ayers Ubiquity,
The Gories,
Toni Rubio,
The Red Krayola,
The Zeros,
K-Klass,
Wally Richardson,
The Fall,
Sandy B,
The Count Five,
LL Cool J,
The Sound,
The Kinks,
John Cale,
Marvin Gaye,
Country Joe & The Fish,
Nik Kershaw,
Orchestral Manoeuvres in the Dark,
Black Sheep,
Audionom,
The Associates,
James Chance & The Contortions,
Bad Manners,
Interpol,
Eli Mardock,
Can,
Bobby Sherman,
Kenny Larkin,
The Vogues,
Camron Feat. Memphis Bleek And Beenie Seigel,
Captain Beefheart & His Magic Band,
Flipper,
Soul II Soul,
Organ,
Heavy D & The Boyz,
Maleditus Sound,
the Normal,
Derrick May,
Justin Hinds & The Dominoes,
The Monochrome Set,
The Moody Blues,
the Human League,
Wighnomy Brothers & Robag Wruhme,
Kango’s Stein Massive,
Lucky Dragons,
Todd Terry,
Animal Collective,
Ronnie Foster, Ronnie Foster, Ronnie Foster, Ronnie Foster.
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.