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 Greece and from Bologna.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Lyon and Edmonton.
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 808 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 One Last Wish to the rock kids.
I played it at the Astoria.
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 Be Bop Deluxe. All the underground hits.
All John Holt tracks. I heard you have a vinyl of every Major Organ And The Adding Machine 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 '60s cut and another box set from the '80s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Modern Lovers record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stereo Dub,
Jesper Dahlback,
Roy Ayers,
Gil Scott-Heron & Brian Jackson,
Super Lover Cee & Casanova Rud,
Black Flag,
Gerry Rafferty,
Electric Prunes,
Roger Hodgson,
KRS-One,
Fort Wilson Riot,
Art Ensemble Of Chicago,
Tommy Roe,
Ajijia Myrayebe,
Todd Terry,
Black Pus,
Buzzcocks,
Neu!,
Sonny Sharrock,
London Community Gospel Choir,
Quadrant,
Jacques Brel,
Camouflage,
Siglo XX,
Faraquet,
Dead Boys,
Lou Reed & Metallica,
Rakim,
Red Lorry Yellow Lorry,
Aaron Thompson,
Loose Ends,
Freddie Wadling,
Eli Mardock,
DeepChord presents Echospace,
The Fortunes,
Fatback Band,
The Dead C,
Anthony Braxton,
Q and Not U,
Barbara Tucker,
Soft Cell,
kango's stein massive,
Michelle Simonal,
The Dirtbombs,
Section 25,
Gastr Del Sol,
X-102,
Andrew Hill,
Sugar Minott,
Inner City,
Dual Sessions,
Juan Atkins,
John Cale,
UT,
Nick Cave & The Bad Seeds,
Roy Ayers Ubiquity,
Big Daddy Kane,
Blake Baxter,
Bobby Sherman,
Ice-T, Ice-T, Ice-T, Ice-T.
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.