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 Eritrea and from Columbus.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Bremen.
I'm losing my edge to the art-school Mexico City 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 sitar sounds with much patience.
I was there when Robert Palmer 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 Cameo to the techno 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 Buzzcocks. All the underground hits.
All Lalo Schifrin tracks. I heard you have a vinyl of every Andrew Hill 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 '70s cut and another box set from the '80s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Moby Grape record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter Gordon & Love of Life Orchestra,
Siglo XX,
Rosa Yemen,
The Modern Lovers,
Cabaret Voltaire,
The Standells,
Gil Scott-Heron and Jamie xx,
the Soft Cell,
June of 44,
Heavy D & The Boyz,
The Knickerbockers,
Rahsaan Roland Kirk,
Letta Mbulu,
Kool G Rap & DJ Polo,
Sunsets and Hearts,
Sparks,
A Flock of Seagulls,
Peter & Gordon,
The Flesh Eaters,
Archie Shepp,
Slave,
Throbbing Gristle,
Arthur Verocai,
DJ Style,
Steve Hackett,
Amazonics,
Sexual Harrassment,
Rotary Connection,
Grauzone,
Juan Atkins,
Lou Reed,
Cluster,
Gary Puckett & The Union Gap,
Delon & Dalcan,
Hoover,
the Slits,
Man Parrish,
Jandek,
Mr. Review,
The Gun Club,
Yusef Lateef,
Bill Wells,
Groovy Waters,
John Foxx,
Das Ding,
Essential Logic,
Shoche,
Yazoo,
The Techniques,
Röyhkä ja Rättö ja Lehtisalo,
Eric Dolphy,
Yaz,
Wings,
The Chocolate Watch Band,
Marcia Griffiths,
Metal Thangz,
Nils Olav,
Robert Hood,
FM Einheit,
Aloha Tigers,
Alphaville,
Q65, Q65, Q65, Q65.
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.