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 Bahrain and from Lagos.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1966 to 1971.
I'm losing my edge.
To all the kids in New York and Paris.
I'm losing my edge to the art-school Copenhagen 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 linndrum 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 Kool Moe Dee to the electroclash kids.
I played it at the Roxy.
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 Selector Dub Narcotic. All the underground hits.
All Notorious BIG live in Amsterdam tracks. I heard you have a vinyl of every Lalo Schifrin 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 '50s cut and another box set from the '90s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Joy Division record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
R.M.O.,
Darondo,
Visage,
Joe Smooth,
Flamin' Groovies,
Stockholm Monsters,
Khruangbin,
Teenage Jesus and the Jerks,
Fear,
The Skatalites,
Make Up,
Symarip,
Oppenheimer Analysis,
Ohio Players,
Joe Finger,
the Fania All-Stars,
Flipper,
Panda Bear,
Godley & Creme,
Unrelated Segments,
Hashim,
Fatback Band,
Nation of Ulysses,
Kayak,
The Fall,
EPMD,
Marc Almond,
Franke,
Arthur Verocai,
X-102,
KRS-One,
Liaisons Dangereuses,
The Gories,
James White and The Blacks,
The Selecter,
Maleditus Sound,
Piero Umiliani,
Tim Buckley,
Negative Approach,
Ken Boothe,
Gabor Szabo,
Masters at Work,
Jesper Dahlback,
Dead Boys,
Excepter,
Gang Green,
Wire,
Jesper Dahlbäck,
Kool Moe Dee,
Barclay James Harvest,
Motorama,
Soft Cell,
Vainqueur,
Super Lover Cee & Casanova Rud,
Bob Dylan,
Scientists,
Kool G Rap & DJ Polo,
Bill Wells,
Schoolly D,
Henry Cow,
Janne Schatter,
Laurel Aitken,
the Swans, the Swans, the Swans, the Swans.
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.