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 Mozambique and from Beijing.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Stockholm and Accra.
I'm losing my edge to the art-school Jakarta 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the organ 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 Public Image Ltd. to the techno kids.
I played it at the Spitz.
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 Vladislav Delay. All the underground hits.
All Peter Gordon & Love of Life Orchestra tracks. I heard you have a vinyl of every John Holt record on German import.
I heard that you have a white label of every seminal grime 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 an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Remains,
Chrome,
Tomorrow,
The Fugs,
Steve Hackett,
De La Soul & Jungle Brothers,
Barbara Tucker,
Bill Wells,
The Modern Lovers,
Slave,
The Monochrome Set,
The Detroit Cobras,
The Cosmic Jokers,
Scientists,
Blake Baxter,
Saccharine Trust,
Arab on Radar,
Sticky Fingaz feat. Raekwon,
Ash Ra Tempel,
CMW,
the Swans,
Kango’s Stein Massive,
Subhumans,
Gang Green,
Howard Jones,
Bizarre Inc.,
Young Marble Giants,
Wire,
The Angels of Light,
Con Funk Shun,
Soft Machine,
Joensuu 1685,
Flamin' Groovies,
Cabaret Voltaire,
Soulsonic Force,
Ajijia Myrayebe,
Peter and Kerry,
Ultravox,
Orchestral Manoeuvres in the Dark,
AZ,
Neu!,
Nik Kershaw,
Jacques Brel,
Super Lover Cee & Casanova Rud,
Liaisons Dangereuses,
Larry & the Blue Notes,
Sly & The Family Stone,
Morten Harket,
Barry Ungar,
Matthew Halsall,
Sexual Harrassment,
F. McDonald,
The Durutti Column,
Arcadia,
Notorious Big And Bone Thugs,
Terrestrial Tones,
Theoretical Girls,
The Stooges,
Lucky Dragons,
Khruangbin,
The Electric Prunes,
Jesper Dahlback,
Derrick Morgan,
The Residents, The Residents, The Residents, The Residents.
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.