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 Mongolia and from Madrid.
But I was there.
I was there in 1970.
I was there at the first Onyeabor show in Enugu.
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 1972.
I'm losing my edge.
To all the kids in Seoul and Edmonton.
I'm losing my edge to the art-school Portland 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 marimba sounds with much patience.
I was there when Lou Reed 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 Stiv Bators to the disco 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 Kings Of Tomorrow. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Stockholm Monsters record on German import.
I heard that you have a white label of every seminal dance 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 a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Bluetip record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Skatalites,
Super Lover Cee & Casanova Rud,
Model 500,
Hot Snakes,
Nico,
Crooked Eye,
Bobbi Humphrey,
Kings Of Tomorrow,
Freddie Wadling,
Derrick Morgan,
The Doobie Brothers,
Traffic Nightmare,
Lonnie Liston Smith,
Colin Newman,
Marine Girls,
James White and The Blacks,
Minny Pops,
Todd Terry,
Anakelly,
The Cowsills,
Blake Baxter,
Kango’s Stein Massive,
Connie Case,
Fat Boys,
Delon & Dalcan,
The Offenders,
Siouxsie and the Banshees,
The Busters,
Roy Ayers,
Andrew Hill,
Cybotron,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Invisible,
Rod Modell,
The Velvet Underground,
The Toasters,
Hoover,
Roxette,
The Associates,
Maleditus Sound,
Quando Quango,
Severed Heads,
the Normal,
Marmalade,
Man Eating Sloth,
Visage,
Clear Light,
Sällskapet,
Country Teasers,
The Gladiators,
Quantec,
Japan,
Stiv Bators,
PIL,
Lakeside,
Pet Shop Boys,
The Electric Prunes,
Lou Reed & John Cale,
Erasure,
Brand Nubian,
Quadrant,
the Association, the Association, the Association, the Association.
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.