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 Lebanon and from Milan.
But I was there.
I was there in .
I was there at the first Suicide 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 1968 to 1972.
I'm losing my edge.
To all the kids in Glasgow and Columbus.
I'm losing my edge to the art-school Stockholm 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 sitar sounds with much patience.
I was there when Nile Rodgers 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 grime kids.
I played it at Trash.
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 Pop Group. All the underground hits.
All Minutemen tracks. I heard you have a vinyl of every The Move record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Darondo,
the Soft Cell,
DJ Style,
The Standells,
Roxy Music,
Joey Negro,
Barclay James Harvest,
John Lydon,
Faraquet,
Negative Approach,
Make Up,
the Slits,
Deutsch Amerikanische Freundschaft,
Joensuu 1685,
E-Dancer,
The Offenders,
Curtis Mayfield,
Depeche Mode,
Fat Boys,
The Vogues,
Manfred Mann's Earth Band,
Harpers Bizarre,
Reagan Youth,
Thee Headcoats,
Vainqueur,
Angels of Light & Akron/Family,
Wings,
Livin' Joy,
Vaughan Mason & Crew,
Terrestrial Tones,
Boz Scaggs,
Minor Threat,
Fela Kuti,
World's Most,
Michelle Simonal,
The Gladiators,
Barrington Levy,
Masters at Work,
Alphaville,
Ten City,
Soft Machine,
Anthony Braxton,
Gary Puckett & The Union Gap,
The Blackbyrds,
Crime,
Nico,
U.S. Maple,
Aaron Thompson,
Agent Orange,
Crispy Ambulance,
the Swans,
Aswad,
Alton Ellis,
Q and Not U,
Newcleus,
One Last Wish,
Orchestral Manoeuvres in the Dark,
Sun Ra,
Animal Collective,
Buzzcocks,
Cymande,
The Divine Comedy, The Divine Comedy, The Divine Comedy, The Divine Comedy.
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.