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 Burkina and from Shanghai.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1976.
I'm losing my edge.
To all the kids in Sao Paulo and Shanghai.
I'm losing my edge to the art-school New York 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 Tom Verlaine 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 Junior Murvin to the funk kids.
I played it at Trash.
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 Jacques Brel. All the underground hits.
All PIL tracks. I heard you have a vinyl of every Jacques Brel record on German import.
I heard that you have a white label of every seminal punk 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 rhodes and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Darondo record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cheater Slicks,
Steve Hackett,
Hoover,
Mo-Dettes,
Moebius,
Angry Samoans,
Larry & the Blue Notes,
Pulsallama,
In Retrospect,
The Sisters of Mercy,
The Smoke,
Gerry Rafferty,
The Raincoats,
Aloha Tigers,
Fort Wilson Riot,
Sun Ra Arkestra,
Ash Ra Tempel,
The Fortunes,
Jimmy McGriff,
Robert Wyatt,
Marcia Griffiths,
Barclay James Harvest,
Faust,
Marc Almond,
Joe Smooth,
Dead Boys,
The Fugs,
the Fania All-Stars,
Stockholm Monsters,
Rowland S Howard / Lydia Lunch,
Lou Christie,
Bizarre Inc.,
Loose Ends,
Qualms,
Nils Olav,
Lyres,
Schoolly D,
Aaron Thompson,
X-102,
Be Bop Deluxe,
David Axelrod,
Howard Jones,
Roxy Music,
48th St. Collective,
The Shadows of Knight,
Robert Görl,
The Remains,
Grandmaster Flash and the Furious Five,
Rahsaan Roland Kirk,
The Velvet Underground,
the Normal,
Bobbi Humphrey,
Con Funk Shun,
Freddie Wadling,
The Mojo Men,
Cabaret Voltaire,
Girls At Our Best!,
Gil Scott-Heron and Jamie xx,
The Move,
Kaleidoscope, Kaleidoscope, Kaleidoscope, Kaleidoscope.
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.