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 Romania and from Houston.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Portland.
I'm losing my edge to the art-school Mumbai 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 1976 at the first Chic practice in a loft in New York.
I was working on the linndrum 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 Fortunes to the grunge 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 Japan. All the underground hits.
All Lafayette Afro Rock Band tracks. I heard you have a vinyl of every Johnny Clarke record on German import.
I heard that you have a white label of every seminal electroclash 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 marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Zero Boys record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Au Pairs,
Richard Hell and the Voidoids,
Danielle Patucci,
Cluster,
Neil Young,
The Techniques,
Eric B and Rakim,
Selector Dub Narcotic,
Interpol,
Loose Ends,
Ornette Coleman,
Eddi Front,
Nick Fraelich,
Fort Wilson Riot,
The Velvet Underground,
Kas Product,
Avey Tare & Kría Brekkan,
Niagra,
The Associates,
Quadrant,
Mo-Dettes,
The Toasters,
Deakin,
Rites of Spring,
Crispian St. Peters,
Rahsaan Roland Kirk,
The Seeds,
Altered Images,
Godley & Creme,
Metal Thangz,
Liaisons Dangereuses,
The Sisters of Mercy,
Clear Light,
Eyeless In Gaza,
the Human League,
Radio Birdman,
Rakim,
Louis and Bebe Barron,
The Zeros,
The Cosmic Jokers,
Slave,
Jesper Dahlbäck,
Dorothy Ashby,
The Evens,
Public Enemy,
Barclay James Harvest,
Con Funk Shun,
Stereo Dub,
Wolf Eyes,
F. McDonald,
Tropical Tobacco,
Ituana,
Wings,
Eden Ahbez,
Bizarre Inc.,
Roxette,
Lonnie Liston Smith,
Larry & the Blue Notes,
Pete Rock & C.L. Smooth,
Stiv Bators,
The Offenders, The Offenders, The Offenders, The Offenders.
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.