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 Mauritania and from Houston.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Delhi and Mexico City.
I'm losing my edge to the art-school Delhi 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 linndrum sounds with much patience.
I was there when Donald Fagen 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 DNA to the electroclash kids.
I played it at the Crocodile.
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 Lafayette Afro Rock Band. All the underground hits.
All Sister Nancy tracks. I heard you have a vinyl of every Wolf Eyes record on German import.
I heard that you have a white label of every seminal punk 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 linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Joensuu 1685 record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultramagnetic MC's,
Index,
Dual Sessions,
Tim Buckley,
Nation of Ulysses,
Harmonia,
Joe Smooth,
Supertramp,
Mandrill,
Wally Richardson,
The Smoke,
Alison Limerick,
Amon Düül II,
Fat Boys,
A Certain Ratio,
Outsiders,
Thee Headcoats,
Brick,
Major Organ And The Adding Machine,
Bobby Sherman,
Patti Smith,
Notorious BIG live in Amsterdam,
Amazonics,
Visage,
Rhythim Is Rhythim,
The Sisters of Mercy,
A Flock of Seagulls,
Barrington Levy,
Jacob Miller,
Kerri Chandler,
The Barracudas,
Bronski Beat,
DeepChord presents Echospace,
Bizarre Inc.,
Isaac Hayes,
The Durutti Column,
AZ,
Monolake,
The Victims,
DJ Sneak,
Pete Rock & C.L. Smooth,
Grandmaster Flash,
Be Bop Deluxe,
Simply Red,
Morten Harket,
The Doors,
The Five Americans,
Rowland S Howard / Lydia Lunch,
Robert Wyatt,
Scion,
Jeru the Damaja,
Andrew Hill,
Man Parrish,
Grey Daturas,
Arab on Radar,
Boogie Down Productions,
Jerry's Kids,
Louis and Bebe Barron,
Cymande,
The Happenings,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.