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 Trinidad & Tobago and from Glasgow.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Manchester and Copenhagen.
I'm losing my edge to the art-school Houston 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 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 The Velvet Underground to the jazz kids.
I played it at the 40 Watt.
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 Beau Brummels. All the underground hits.
All JFA tracks. I heard you have a vinyl of every Barry Ungar record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Clear Light,
John Coltrane,
Grandmaster Flash,
Nas,
Deakin,
The Gun Club,
Lalo Schifrin,
Grauzone,
The Blues Magoos,
Duran Duran,
The Shadows of Knight,
Gastr Del Sol,
Surgeon,
The Walker Brothers,
Motorama,
Soft Cell,
Ronnie Foster,
Eden Ahbez,
Agitation Free,
Terry Callier,
Deepchord,
Yazoo,
Fad Gadget,
Lizzy Mercier Descloux,
Sarah Menescal,
Bobby Womack,
the Human League,
Chris & Cosey,
Pylon,
Robert Hood,
Glenn Branca,
The Cosmic Jokers,
Sad Lovers and Giants,
The Moody Blues,
Crash Course in Science,
Con Funk Shun,
Swell Maps,
Mark Hollis,
The Monochrome Set,
Rekid,
Lightning Bolt,
The Birthday Party,
Thompson Twins,
Banda Bassotti,
Fat Boys,
Marc Almond,
kango's stein massive,
Scott Walker,
Altered Images,
The American Breed,
The Buckinghams,
Buzzcocks,
Jesper Dahlbäck,
EPMD,
The Associates,
Whodini,
DJ Sneak,
Bobby Byrd,
Marvin Gaye,
Anthony Braxton,
Erasure,
Icehouse, Icehouse, Icehouse, Icehouse.
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.