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 Croatia and from Mexico City.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Copenhagen and Taipei.
I'm losing my edge to the art-school Madrid 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 synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Byron Stingily to the jazz kids.
I played it at the Spitz.
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 Duran Duran. All the underground hits.
All Heaven 17 tracks. I heard you have a vinyl of every Jeff Mills 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 '70s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Blossom Toes record.
I hear that you and your band have sold your marimba and bought a snare.
I hear that you and your band have sold your snare and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
Oppenheimer Analysis,
Saccharine Trust,
Jeff Lynne,
DNA,
Soulsonic Force,
ABBA,
Cecil Taylor,
Ultimate Spinach,
Super Lover Cee & Casanova Rud,
Marine Girls,
Frankie Knuckles,
Slave,
The Gap Band,
Section 25,
The Raincoats,
Con Funk Shun,
Eurythmics,
Terrestrial Tones,
The Slits,
Delta 5,
Ultravox,
Avey Tare,
Neil Young,
Jawbox,
Alton Ellis,
Eli Mardock,
The Star Department,
Selector Dub Narcotic,
The Mojo Men,
Pete Rock & C.L. Smooth,
Siouxsie and the Banshees,
Kerri Chandler,
Nick Fraelich,
D'Angelo,
Pylon,
Chris & Cosey,
Mr. Review,
Suicide,
MC5,
Agitation Free,
Mark Hollis,
Lou Reed & John Cale,
Joyce Sims,
Roy Ayers,
Sight & Sound,
Max Romeo,
Gang Starr,
Von Mondo,
Scrapy,
Anthony Braxton,
The Moleskins,
U.S. Maple,
Adolescents,
Strawberry Alarm Clock,
Oneida,
Roy Ayers Ubiquity,
Ronan,
Leonard Cohen,
Stereo Dub,
Terry Callier, Terry Callier, Terry Callier, Terry Callier.
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.