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 Vietnam and from Mexico City.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1979.
I'm losing my edge.
To all the kids in Manila and Lagos.
I'm losing my edge to the art-school Philadelphia 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 marimba sounds with much patience.
I was there when Tom Verlaine 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 FM Einheit to the disco 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 The Detroit Cobras. All the underground hits.
All 8 Eyed Spy tracks. I heard you have a vinyl of every Godley & Creme record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an organ and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Tom Boy record.
I hear that you and your band have sold your rhodes and bought a snare.
I hear that you and your band have sold your snare and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brick,
Bizarre Inc.,
Public Image Ltd.,
Youth Brigade,
The Skatalites,
Howard Jones,
Masters at Work,
Surgeon,
Moss Icon,
Wire,
ABC,
Intrusion,
U.S. Maple,
Kings Of Tomorrow,
Rotary Connection,
Albert Ayler,
Justin Hinds & The Dominoes,
Michelle Simonal,
X-101,
New Age Steppers,
Stetsasonic,
Mark Hollis,
Sugar Minott,
K-Klass,
Terry Callier,
Mo-Dettes,
The Beau Brummels,
Siglo XX,
Kurtis Blow,
Swell Maps,
Eric B and Rakim,
Kauko Röyhkä ja Narttu,
Gang Gang Dance,
Icehouse,
Dorothy Ashby,
Interpol,
Monks,
Alison Limerick,
Pierre Henry,
Bobbi Humphrey,
EPMD,
Neil Young & Crazy Horse,
Dead Boys,
Electric Light Orchestra,
Beasts of Bourbon,
Ultimate Spinach,
Aural Exciters,
Juan Atkins,
Slave,
Johnny Osbourne,
Flipper,
Underground Resistance,
Nils Olav,
FM Einheit,
Gastr Del Sol,
Index,
Television,
Soft Cell,
Hasil Adkins,
Hot Snakes,
Letta Mbulu, Letta Mbulu, Letta Mbulu, Letta Mbulu.
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.