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 Germany and from Manila.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Manchester and Glasgow.
I'm losing my edge to the art-school Seoul 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed 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 Terry Callier to the dance 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 Justin Hinds & The Dominoes. All the underground hits.
All Andrew Hill tracks. I heard you have a vinyl of every Fort Wilson Riot 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 '50s cut and another box set from the '70s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers 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?
X-101,
Terrestrial Tones,
Pulsallama,
Lakeside,
Reuben Wilson,
Kauko Röyhkä ja Narttu,
48th St. Collective,
Barry Ungar,
Harmonia,
Whodini,
Cameo,
David McCallum,
Flamin' Groovies,
Dawn Penn,
Underground Resistance,
Rapeman,
Bobbi Humphrey,
Lucky Dragons,
Panda Bear,
Tubeway Army,
The Techniques,
the Human League,
Slick Rick,
Zero Boys,
Man Parrish,
Pussy Galore,
Roxy Music,
Idris Muhammad,
Bang On A Can,
Crooked Eye,
Wire,
Suicide,
Pantytec,
Ultimate Spinach,
The Neon Judgement,
Lungfish,
Crash Course in Science,
The Litter,
Make Up,
Brand Nubian,
Joe Smooth,
Kango’s Stein Massive,
Derrick Morgan,
Ornette Coleman,
Junior Murvin,
AZ,
FM Einheit,
London Community Gospel Choir,
Eden Ahbez,
Dead Boys,
Heaven 17,
Aural Exciters,
Chrome,
Jimmy McGriff,
Jerry's Kids,
Steve Hackett,
La Düsseldorf,
Red Lorry Yellow Lorry,
Stetsasonic,
Country Teasers,
Half Japanese,
Scott Walker + Sunn O))),
Intrusion, Intrusion, Intrusion, Intrusion.
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.