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 Panama and from Taipei.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1974.
I'm losing my edge.
To all the kids in Tehran and Johannesburg.
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 rhodes sounds with much patience.
I was there when David Bowie 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 Invisible to the disco kids.
I played it at Cafe Wha.
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 Wasted Youth. All the underground hits.
All Cal Tjader tracks. I heard you have a vinyl of every Dark Day 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 synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Franke,
Chris & Cosey,
In Retrospect,
New Age Steppers,
Barrington Levy,
Gerry Rafferty,
Scott Walker,
Albert Ayler,
Hot Snakes,
Aural Exciters,
Mandrill,
Tropical Tobacco,
Mantronix,
Hardrive,
Dorothy Ashby,
Byron Stingily,
The Move,
48th St. Collective,
Boz Scaggs,
Matthew Bourne,
Thee Headcoats,
Los Fastidios,
Gil Scott Heron,
Barry Ungar,
Peter & Gordon,
Strawberry Alarm Clock,
Ken Boothe,
Supertramp,
Lou Reed & Metallica,
The Smiths,
Letta Mbulu,
Rakim,
Crooked Eye,
A Flock of Seagulls,
The Angels of Light,
Soulsonic Force,
Hoover,
Black Sheep,
The Black Dice,
Andrew Hill,
The Modern Lovers,
The Fuzztones,
Kango’s Stein Massive,
Second Layer,
The Standells,
A Certain Ratio,
Saccharine Trust,
Colin Newman,
Mary Jane Girls,
Sister Nancy,
Dave Gahan,
Rufus Thomas,
Nick Fraelich,
Ultramagnetic MC's,
Duran Duran,
Arcadia,
The Pop Group,
Marc Romboy vs. Booka Shade,
Zero Boys,
U.S. Maple,
Goldenarms,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.