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 Manila.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 Milan and Cairo.
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 spring reverb 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 Pere Ubu to the punk kids.
I played it at the Troubador.
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 Skatalites. All the underground hits.
All The Kinks tracks. I heard you have a vinyl of every Guru Guru record on German import.
I heard that you have a white label of every seminal crunk 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 mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kayak,
The Grass Roots,
The Red Krayola,
Mad Mike,
Terror Squad Feat. Camron,
Faraquet,
X-Ray Spex,
Scrapy,
Talk Talk,
LL Cool J,
Thee Headcoats,
Bobby Sherman,
Sad Lovers and Giants,
Young Marble Giants,
Scan 7,
Stockholm Monsters,
The Fugs,
Pantaleimon,
Public Image Ltd.,
Slick Rick,
The Associates,
Teenage Jesus and the Jerks,
The Skatalites,
Harpers Bizarre,
Eric B and Rakim,
Liaisons Dangereuses,
The Modern Lovers,
Goldenarms,
Kaleidoscope,
Aswad,
Wally Richardson,
Man Eating Sloth,
Reuben Wilson,
Connie Case,
Kool Moe Dee,
Curtis Mayfield,
Oblivians,
Unrelated Segments,
Sugar Minott,
Boz Scaggs,
Glenn Branca,
10cc,
The Jesus and Mary Chain,
Electric Light Orchestra,
Carl Craig,
Ohio Players,
The Gap Band,
Subhumans,
The Selecter,
The Fall,
Sunsets and Hearts,
the Bar-Kays,
Negative Approach,
Josef K,
Selector Dub Narcotic,
Jerry Gold Smith,
Janne Schatter,
The Real Kids,
Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim, Rhythim Is Rhythim.
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.