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 Turkmenistan and from Bremen.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1973.
I'm losing my edge.
To all the kids in Calgary and Mumbai.
I'm losing my edge to the art-school Madrid 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 theremin 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 Television to the rock 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 Rhythim Is Rhythim. All the underground hits.
All a-ha tracks. I heard you have a vinyl of every Warsaw 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 '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sexual Harrassment record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hasil Adkins,
The Mummies,
Don Cherry,
Fela Kuti,
Rhythm & Sound,
Black Bananas,
Pete Rock & C.L. Smooth,
Nils Olav,
Cybotron,
Yazoo,
Gang of Four,
Freddie Wadling,
Pharoah Sanders,
Fort Wilson Riot,
ABC,
Eddi Front,
Kerri Chandler,
Second Layer,
The Men They Couldn't Hang,
The Fortunes,
DJ Style,
Sonny Sharrock,
New Age Steppers,
Cecil Taylor,
Q and Not U,
The Dirtbombs,
Kurtis Blow,
Little Man,
Newcleus,
Nas,
Curtis Mayfield,
Country Joe & The Fish,
Organ,
Sly & The Family Stone,
John Holt,
E-Dancer,
Guru Guru,
Scion,
Roxy Music,
The Electric Prunes,
Tubeway Army,
Ornette Coleman,
Monks,
the Human League,
Echo & the Bunnymen,
Tears for Fears,
Public Enemy,
Siglo XX,
The Black Dice,
James Chance & The Contortions,
Clear Light,
Dual Sessions,
The Fuzztones,
Arab on Radar,
Moss Icon,
T. Rex,
Electric Light Orchestra,
Rod Modell,
X-101,
The American Breed,
Royal Trux, Royal Trux, Royal Trux, Royal Trux.
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.