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 Costa Rica and from Jakarta.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Johannesburg and Tehran.
I'm losing my edge to the art-school Tokyo 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the harpsichord 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 The Fortunes to the techno 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 Accadde A. All the underground hits.
All Stereo Dub tracks. I heard you have a vinyl of every Al Stewart record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Saints record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Slits,
X-101,
Heaven 17,
Man Eating Sloth,
Joe Smooth,
Sex Pistols,
Eli Mardock,
Deakin,
Sparks,
the Bar-Kays,
Swell Maps,
Vladislav Delay,
Darondo,
Johnny Osbourne,
Electric Light Orchestra,
Public Enemy,
Bootsy's Rubber Band,
Q and Not U,
The Chocolate Watch Band,
Cluster,
Rotary Connection,
Q65,
Wighnomy Brothers & Robag Wruhme,
The Fortunes,
Groovy Waters,
Yusef Lateef,
Connie Case,
Marshall Jefferson,
Man Parrish,
Eve St. Jones,
Cybotron,
Sun Ra,
The Fall,
The Birthday Party,
The J.B.'s,
The Electric Prunes,
Crispian St. Peters,
The Fugs,
Bill Wells,
One Last Wish,
Royal Trux,
Saccharine Trust,
Lizzy Mercier Descloux,
The Monks,
The Misunderstood,
Cameo,
Matthew Halsall,
Funkadelic,
Rhythm & Sound,
Minny Pops,
The Gap Band,
The New Christs,
Arcadia,
Bronski Beat,
Lyres,
The Five Americans,
Junior Murvin,
Roxette,
Camberwell Now,
It's A Beautiful Day,
Lightning Bolt, Lightning Bolt, Lightning Bolt, Lightning Bolt.
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.