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 Eritrea and from Spokane.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1979.
I'm losing my edge.
To all the kids in Houston and Paris.
I'm losing my edge to the art-school Paris 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 Robert Palmer 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 Moleskins to the funk 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 Pierre Henry. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every Pantaleimon 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 '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy's Rubber Band record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Bang On A Can,
Jeff Mills,
Magazine,
The Pop Group,
Heavy D & The Boyz,
The Smoke,
Franke,
Selector Dub Narcotic,
The Toasters,
Royal Trux,
Cameo,
Neil Young,
Babytalk,
Schoolly D,
Pharoah Sanders,
Sarah Menescal,
Chris & Cosey,
Davy DMX,
Vladislav Delay,
Mo-Dettes,
The New Christs,
Crooked Eye,
Lower 48,
Pole,
Soul Sonic Force,
Radiopuhelimet,
The Flesh Eaters,
Electric Prunes,
Wire,
Yazoo,
Delta 5,
Ronan,
Lou Reed,
Erasure,
The Sisters of Mercy,
Wally Richardson,
Stereo Dub,
Leonard Cohen,
Ken Boothe,
New Order,
La Düsseldorf,
The Mummies,
ABBA,
Oneida,
Crispy Ambulance,
Kurtis Blow,
Lalann,
Cybotron,
Wolf Eyes,
Nils Olav,
June Days,
Yusef Lateef,
Rod Modell,
The Searchers,
Magma,
Fugazi,
Wasted Youth,
the Slits,
Accadde A,
Au Pairs,
The Blues Magoos,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.