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 Honduras and from Bologna.
But I was there.
I was there in 1967.
I was there at the first Rodriguez 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 1962 to 1978.
I'm losing my edge.
To all the kids in New York and Columbus.
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 mellotron 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 Judy Mowatt to the techno kids.
I played it at the Roxy.
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 Suburban Knight. All the underground hits.
All Alphaville tracks. I heard you have a vinyl of every Brand Nubian record on German import.
I heard that you have a white label of every seminal disco 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 synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your chamberlin and bought an organ.
I hear that you and your band have sold your organ and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultimate Spinach,
Sly & The Family Stone,
The Gladiators,
Girls At Our Best!,
Make Up,
X-101,
The Buckinghams,
Urselle,
Yaz,
The Cowsills,
Avey Tare & Kría Brekkan,
Minutemen,
The Searchers,
E-Dancer,
Lonnie Liston Smith,
Rosa Yemen,
Grandmaster Flash,
Freddie Wadling,
The Pretty Things,
Nick Cave & The Bad Seeds,
Deadbeat,
Nils Olav,
The Star Department,
The Move,
Alice Coltrane,
Aswad,
The Techniques,
MDC,
The Five Americans,
Moby Grape,
Bronski Beat,
Slick Rick,
Lower 48,
Bluetip,
The Last Poets,
Dark Day,
Oppenheimer Analysis,
Susan Cadogan,
Joe Smooth,
Bootsy's Rubber Band,
Scrapy,
Arthur Verocai,
Tom Boy,
Wighnomy Brothers & Robag Wruhme,
Eurythmics,
The Flesh Eaters,
Kauko Röyhkä ja Narttu,
Barbara Tucker,
Reagan Youth,
Khruangbin,
Simply Red,
Unrelated Segments,
Tommy Roe,
The Vogues,
Camron Feat. Memphis Bleek And Beenie Seigel,
JFA,
Orchestral Manoeuvres in the Dark,
F. McDonald,
The Moody Blues,
Swell Maps,
Pylon,
Delta 5,
Wally Richardson, Wally Richardson, Wally Richardson, Wally Richardson.
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.