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 Benin and from Accra.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Portland and Copenhagen.
I'm losing my edge to the art-school Lille 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 at the first Suicide practice in a loft in New York.
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 Outsiders to the funk 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 Morten Harket. All the underground hits.
All Jacob Miller tracks. I heard you have a vinyl of every Gil Scott-Heron & Brian Jackson 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 '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Marmalade record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swans,
Jerry Gold Smith,
Arcadia,
Avey Tare & Kría Brekkan,
Talk Talk,
Ohio Players,
Hardrive,
Fort Wilson Riot,
DNA,
the Association,
Khruangbin,
Monks,
E-Dancer,
Rhythm & Sound,
The Motions,
the Human League,
Stockholm Monsters,
Tom Boy,
Andrew Hill,
Bobbi Humphrey,
kango's stein massive,
The Red Krayola,
The Martian,
Eyeless In Gaza,
Junior Murvin,
Quando Quango,
Eve St. Jones,
Soft Cell,
Gastr Del Sol,
China Crisis,
In Retrospect,
Althea and Donna,
Charles Mingus,
cv313,
Underground Resistance,
Flamin' Groovies,
Kool G Rap & DJ Polo,
Rapeman,
Kenny Larkin,
Ralphi Rosario,
Country Joe & The Fish,
Mo-Dettes,
Parry Music,
Moby Grape,
Marc Almond,
Hot Snakes,
Mr. Review,
Orchestral Manoeuvres in the Dark,
Albert Ayler,
Crooked Eye,
Darondo,
The Young Rascals,
U.S. Maple,
Grey Daturas,
Y Pants,
Lucky Dragons,
Scott Walker,
James Chance & The Contortions,
Gian Franco Pienzio,
One Last Wish,
The Buckinghams,
Adolescents, Adolescents, Adolescents, Adolescents.
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.