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 Korea South and from Beijing.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Halifax and Accra.
I'm losing my edge to the art-school Lyon 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 organ 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 Jacques Brel to the grunge kids.
I played it at Trash.
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 Joe Smooth. All the underground hits.
All Arthur Verocai tracks. I heard you have a vinyl of every Echo & the Bunnymen record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sly & The Family Stone,
Crime,
U.S. Maple,
Minor Threat,
Grauzone,
T.S.O.L.,
Blake Baxter,
Agent Orange,
Oppenheimer Analysis,
Trumans Water,
The Toasters,
Pylon,
The Knickerbockers,
The Smiths,
Procol Harum,
It's A Beautiful Day,
The Happenings,
Marc Romboy vs. Booka Shade,
Ossler,
Swell Maps,
Brass Construction,
Avey Tare & Kría Brekkan,
JFA,
The Music Machine,
Johnny Osbourne,
Roger Hodgson,
Skaos,
Althea and Donna,
Fear,
Moss Icon,
Second Layer,
Marcia Griffiths,
Michelle Simonal,
The Remains,
Urselle,
Hot Snakes,
New Order,
The Slits,
The Last Poets,
Leonard Cohen,
Hasil Adkins,
Al Stewart,
The Gap Band,
Quando Quango,
Soulsonic Force,
Faraquet,
Susan Cadogan,
The Gladiators,
Barclay James Harvest,
Flash Fearless,
Justin Hinds & The Dominoes,
Tres Demented,
Lungfish,
Marshall Jefferson,
Bluetip,
Deepchord,
Fad Gadget,
John Holt,
Ken Boothe,
David McCallum,
The Vogues,
Can, Can, Can, Can.
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.