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 Hungary and from Portland.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Mumbai and Manchester.
I'm losing my edge to the art-school Toronto 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 güiro 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 Crime to the electroclash 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 F. McDonald. All the underground hits.
All Super Lover Cee & Casanova Rud tracks. I heard you have a vinyl of every Faraquet 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 '80s cut and another box set from the '80s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Martian record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Röyhkä ja Rättö ja Lehtisalo,
Peter & Gordon,
World's Most,
The Names,
Grey Daturas,
Deutsch Amerikanische Freundschaft,
Malaria!,
Fifty Foot Hose,
Motorama,
Audionom,
Theoretical Girls,
Wighnomy Brothers & Robag Wruhme,
Arcadia,
Shoche,
Idris Muhammad,
Ajijia Myrayebe,
a-ha,
The Dirtbombs,
Michelle Simonal,
David Bowie,
Ituana,
Zapp,
Young Marble Giants,
Youth Brigade,
Cluster,
Cymande,
The Knickerbockers,
Kurtis Blow,
Public Image Ltd.,
The Real Kids,
The Sisters of Mercy,
Dual Sessions,
Soft Cell,
Robert Hood,
Art Ensemble Of Chicago,
Hardrive,
Siglo XX,
Richard Hell and the Voidoids,
The Misunderstood,
Lakeside,
Excepter,
Arab on Radar,
Pulsallama,
Hoover,
Q65,
Larry & the Blue Notes,
Curtis Mayfield,
Section 25,
Shuggie Otis,
Q and Not U,
Sight & Sound,
Red Lorry Yellow Lorry,
Royal Trux,
Ten City,
Masters at Work,
Pharaoh Sanders and the Fire Engines,
Harmonia,
Oppenheimer Analysis,
Warsaw,
Leonard Cohen,
Average White Band,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.