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 Czech Republic and from Beijing.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Edmonton.
I'm losing my edge to the art-school Bologna 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 808 sounds with much patience.
I was there when Robert Palmer 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 Joyce Sims to the grime kids.
I played it at Cafe Wha.
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 Von Mondo. All the underground hits.
All Yellowson tracks. I heard you have a vinyl of every Gil Scott-Heron and Jamie xx record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Pretty Things record.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
Skriet,
Zapp,
Graham Central Station,
8 Eyed Spy,
Urselle,
Chris & Cosey,
Kings Of Tomorrow,
Yaz,
the Bar-Kays,
Althea and Donna,
The Durutti Column,
10cc,
Bootsy Collins,
Justin Hinds & The Dominoes,
Lower 48,
X-Ray Spex,
Bobby Hutcherson,
Interpol,
Wolf Eyes,
Larry & the Blue Notes,
Tim Buckley,
The Cowsills,
Joey Negro,
Fort Wilson Riot,
Ten City,
The Motions,
Sticky Fingaz feat. Raekwon,
Avey Tare & Kría Brekkan,
Minny Pops,
Matthew Halsall,
Rosa Yemen,
Gong,
Robert Görl,
Flash Fearless,
Byron Stingily,
Nick Fraelich,
Josef K,
Stetsasonic,
Oblivians,
Minnie Riperton,
Brick,
Marine Girls,
Arab on Radar,
The American Breed,
Bobby Sherman,
The Dead C,
The Angels of Light,
Joe Finger,
The Beau Brummels,
The Wake,
Echospace,
The Trojans,
Electric Light Orchestra,
David McCallum,
The Detroit Cobras,
De La Soul & Jungle Brothers,
Nation of Ulysses,
The Happenings,
Smog,
48th St. Collective,
Stereo Dub,
Crash Course in Science,
New Order, New Order, New Order, New Order.
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.