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 Cape Verde and from Philadelphia.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Tehran and Taipei.
I'm losing my edge to the art-school Stockholm 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 synthesizer 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 Quantec to the disco kids.
I played it at the Hacienda.
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 Darondo. All the underground hits.
All Lungfish tracks. I heard you have a vinyl of every Junior Murvin record on German import.
I heard that you have a white label of every seminal funk 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 synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Big Daddy Kane,
Ultimate Spinach,
the Germs,
The Modern Lovers,
The Buckinghams,
Deutsch Amerikanische Freundschaft,
Dead Boys,
Bobby Womack,
Echospace,
June of 44,
The Birthday Party,
The Raincoats,
Kas Product,
The Doors,
Stereo Dub,
Bob Dylan,
Frankie Knuckles,
The Martian,
Todd Rundgren,
Blake Baxter,
Harpers Bizarre,
Girls At Our Best!,
Joensuu 1685,
Grandmaster Flash,
the Sonics,
Dark Day,
The New Christs,
Danielle Patucci,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Scion,
Swell Maps,
Oneida,
Alison Limerick,
The Jesus and Mary Chain,
Electric Prunes,
Max Romeo,
Kango’s Stein Massive,
Arab on Radar,
Traffic Nightmare,
Spoonie Gee,
Dorothy Ashby,
48th St. Collective,
Joyce Sims,
Ultramagnetic MC's,
Barbara Tucker,
Popol Vuh,
Tropical Tobacco,
R.M.O.,
Crash Course in Science,
Black Moon,
D'Angelo,
The Saints,
MC5,
Nico,
E-Dancer,
Kool G Rap & DJ Polo,
Pere Ubu,
Hardrive,
Cal Tjader,
Thinking Fellers Union Local 282,
The Searchers,
Unwound,
Deadbeat, Deadbeat, Deadbeat, Deadbeat.
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.