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 Monaco and from New York.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Lyon and Manchester.
I'm losing my edge to the art-school Bologna 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 snare 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 ABBA 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 Little Man. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every Blancmange record on German import.
I heard that you have a white label of every seminal rock 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 linndrum and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Ponytail record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Buckinghams,
Hoover,
The Shadows of Knight,
Marc Almond,
Joyce Sims,
The Moody Blues,
Depeche Mode,
Sixth Finger,
Don Cherry,
Richard Hell and the Voidoids,
The Detroit Cobras,
Fear,
Joe Smooth,
Todd Rundgren,
F. McDonald,
Electric Light Orchestra,
The Black Dice,
Fat Boys,
The Fire Engines,
John Coltrane,
Ultramagnetic MC's,
Nick Fraelich,
Chris & Cosey,
Kas Product,
The Neon Judgement,
Ultra Naté,
Bootsy Collins,
Derrick May,
KRS-One,
Audionom,
Reuben Wilson,
Gabor Szabo,
The Chocolate Watch Band,
The Fall,
Slave,
Röyhkä ja Rättö ja Lehtisalo,
Charles Mingus,
U.S. Maple,
Niagra,
Ronan,
Jandek,
Blancmange,
Yazoo,
Louis and Bebe Barron,
Technova,
Bronski Beat,
Bush Tetras,
Selector Dub Narcotic,
Fad Gadget,
Black Pus,
Eurythmics,
Lizzy Mercier Descloux,
Minor Threat,
Beasts of Bourbon,
Leonard Cohen,
The Dave Clark Five,
Brothers Johnson,
Circle Jerks,
Kerrie Biddell,
Sex Pistols,
The Remains,
Big Daddy Kane, Big Daddy Kane, Big Daddy Kane, Big Daddy Kane.
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.