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 Gambia and from Edmonton.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1966 to 1977.
I'm losing my edge.
To all the kids in Salvador and Salvador.
I'm losing my edge to the art-school Spokane 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 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 Infiniti to the rap kids.
I played it at the Troubador.
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 Lizzy Mercier Descloux tracks. I heard you have a vinyl of every Mars record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Marvin Gaye record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radiohead,
Gil Scott-Heron and Jamie xx,
Kayak,
Bush Tetras,
Juan Atkins,
OOIOO,
Spandau Ballet,
Eurythmics,
Second Layer,
Curtis Mayfield,
The Electric Prunes,
Quando Quango,
Pulsallama,
Parry Music,
Mr. Review,
Desert Stars,
Unwound,
Rakim,
Al Stewart,
Echospace,
Royal Trux,
Jerry's Kids,
Bauhaus,
Youth Brigade,
The Index,
A Flock of Seagulls,
Liaisons Dangereuses,
Moebius,
Icehouse,
Barclay James Harvest,
Suicide,
Eve St. Jones,
Lightning Bolt,
Dawn Penn,
Big Daddy Kane,
Nick Fraelich,
X-102,
Donny Hathaway,
Teenage Jesus and the Jerks,
Newcleus,
The Wake,
L. Decosne,
The Real Kids,
Grauzone,
K-Klass,
Chris Corsano,
Harpers Bizarre,
Freddie Wadling,
Ohio Players,
Das Ding,
Lyres,
Jacques Brel,
Ultimate Spinach,
Los Fastidios,
The Sound,
Judy Mowatt,
Lou Reed,
Gregory Isaacs,
Joy Division,
Scion, Scion, Scion, Scion.
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.