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 Brunei and from Hong Kong.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Salvador and Cairo.
I'm losing my edge to the art-school Seoul 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the spring reverb 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 Eli Mardock to the crunk kids.
I played it at the Astoria.
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 The Walker Brothers. All the underground hits.
All Marcia Griffiths tracks. I heard you have a vinyl of every Ultravox record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Letta Mbulu record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mighty Diamonds,
Pere Ubu,
FM Einheit,
The Associates,
Robert Hood,
Traffic Nightmare,
Al Stewart,
Tommy Roe,
Lebanon Hanover,
Gil Scott Heron,
Harry Pussy,
The Happenings,
Unrelated Segments,
Jeru the Damaja,
Masters at Work,
Bobby Byrd,
Amon Düül II,
The Selecter,
The Gladiators,
The Doors,
Red Lorry Yellow Lorry,
Spoonie Gee,
Mark Hollis,
Niagra,
Alison Limerick,
Goldenarms,
Patti Smith,
Scratch Acid,
The Peanut Butter Conspiracy,
Neu!,
X-Ray Spex,
Oppenheimer Analysis,
Procol Harum,
The Fuzztones,
Das Ding,
Robert Görl,
Theoretical Girls,
Roy Ayers Ubiquity,
Country Teasers,
The Blues Magoos,
Moss Icon,
Funky Four + One,
The Grass Roots,
the Fania All-Stars,
Agitation Free,
The Names,
Siouxsie and the Banshees,
Rites of Spring,
Brass Construction,
Bang on a Can All-Stars,
The Smiths,
Spandau Ballet,
The Detroit Cobras,
The Index,
Basic Channel,
Piero Umiliani,
R.M.O.,
LL Cool J,
Monolake,
Franke,
Ken Boothe, Ken Boothe, Ken Boothe, Ken Boothe.
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.