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 Fiji 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 1960 to 1972.
I'm losing my edge.
To all the kids in Bremen and Stockholm.
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 Michael McDonald 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 Charles Mingus to the disco kids.
I played it at the 40 Watt.
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 Kauko Röyhkä ja Narttu. All the underground hits.
All Dennis Brown tracks. I heard you have a vinyl of every Derrick Morgan record on German import.
I heard that you have a white label of every seminal dance 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 snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Blues Magoos record.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick Morgan,
David Axelrod,
Tomorrow,
Marc Romboy vs. Booka Shade,
The Durutti Column,
Kerri Chandler,
Crispy Ambulance,
The Monochrome Set,
Sound Behaviour,
Swell Maps,
Jerry's Kids,
Saccharine Trust,
Jacques Brel,
The Leaves,
Essential Logic,
Angry Samoans,
Mark Hollis,
Joey Negro,
Don Cherry,
Hashim,
Heavy D & The Boyz,
Fugazi,
Angels of Light & Akron/Family,
Ajijia Myrayebe,
Röyhkä ja Rättö ja Lehtisalo,
Quando Quango,
Avey Tare,
La Düsseldorf,
Wolf Eyes,
Scrapy,
Public Image Ltd.,
Quantec,
Gil Scott-Heron and Jamie xx,
Tubeway Army,
Heaven 17,
Can,
Danielle Patucci,
Leonard Cohen,
The Cosmic Jokers,
Blake Baxter,
Derrick May,
Section 25,
The Fall,
The Wake,
Aural Exciters,
The Pop Group,
Byron Stingily,
Gang of Four,
The Techniques,
Barclay James Harvest,
Loose Ends,
Roxy Music,
Model 500,
Metal Thangz,
OOIOO,
Ossler,
Soft Cell,
Josef K,
Aaron Thompson,
Amon Düül,
Inner City,
Rhythm & Sound, Rhythm & Sound, Rhythm & Sound, Rhythm & Sound.
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.