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 Ecuador and from Seoul.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Salvador and Halifax.
I'm losing my edge to the art-school Manila 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 theremin 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 Bush Tetras to the electroclash 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 Groovy Waters. All the underground hits.
All The J.B.'s tracks. I heard you have a vinyl of every Lungfish 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 '80s cut and another box set from the '70s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Talk Talk record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Starr,
Sixth Finger,
Unrelated Segments,
LL Cool J,
The Gun Club,
The Smoke,
Grey Daturas,
Curtis Mayfield,
Cal Tjader,
John Lydon,
Rhythim Is Rhythim,
Stockholm Monsters,
The Index,
Traffic Nightmare,
Althea and Donna,
Danielle Patucci,
Byron Stingily,
The Motions,
Funky Four + One,
The Blues Magoos,
The Saints,
Bluetip,
Anakelly,
Matthew Bourne,
De La Soul & Jungle Brothers,
Selector Dub Narcotic,
The Neon Judgement,
Lou Christie,
Dual Sessions,
Country Joe & The Fish,
Fort Wilson Riot,
Heavy D & The Boyz,
June Days,
Matthew Halsall,
Cameo,
Junior Murvin,
Deutsch Amerikanische Freundschaft,
Magazine,
Surgeon,
Al Stewart,
The Residents,
Judy Mowatt,
Theoretical Girls,
Oneida,
Minny Pops,
Wasted Youth,
Amon Düül,
Ohio Players,
Joe Finger,
The Skatalites,
Lindisfarne,
The Tremeloes,
Michelle Simonal,
Cymande,
Pantaleimon,
Kango’s Stein Massive,
Bobby Womack,
Mars,
Charles Mingus,
Lyres,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.