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 Argentina and from London.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Columbus and Glasgow.
I'm losing my edge to the art-school Shanghai 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the synthesizer 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 Tears for Fears to the crunk 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 T.S.O.L.. All the underground hits.
All Interpol tracks. I heard you have a vinyl of every Motorama 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 an oboe and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your 808 and bought a theremin.
I hear that you and your band have sold your theremin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kaleidoscope,
Byron Stingily,
Ralphi Rosario,
Big Daddy Kane,
Kool G Rap & DJ Polo,
Joe Finger,
Don Cherry,
London Community Gospel Choir,
Deadbeat,
The Fugs,
UT,
Oppenheimer Analysis,
Jesper Dahlbäck,
Television Personalities,
Mary Jane Girls,
Brass Construction,
The Red Krayola,
The Flesh Eaters,
Spandau Ballet,
The Fuzztones,
Morten Harket,
The Cowsills,
The Gun Club,
Freddie Wadling,
The Moody Blues,
Bluetip,
Aural Exciters,
Sun Ra Arkestra,
Bobby Womack,
Wasted Youth,
Siouxsie and the Banshees,
Fear,
Darondo,
Röyhkä ja Rättö ja Lehtisalo,
Louis and Bebe Barron,
World's Most,
Oblivians,
June Days,
N.O.R.E. Featuring Pharrell,
Fort Wilson Riot,
Neil Young,
CMW,
Nick Fraelich,
Lee Hazlewood,
Fatback Band,
U.S. Maple,
Whodini,
JFA,
Colin Newman,
Cal Tjader,
The Mighty Diamonds,
Banda Bassotti,
The Gories,
Mr. Review,
Peter Gordon & Love of Life Orchestra,
Animal Collective,
Reuben Wilson,
D'Angelo,
Organ,
Jacob Miller, Jacob Miller, Jacob Miller, Jacob Miller.
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.