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 Eritrea and from Glasgow.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Woodstock.
I'm losing my edge to the art-school Taipei 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the spring reverb 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 June Days to the rap 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 Vainqueur. All the underground hits.
All Dorothy Ashby tracks. I heard you have a vinyl of every London Community Gospel Choir record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Swans,
John Holt,
Eden Ahbez,
Ponytail,
Livin' Joy,
Banda Bassotti,
Thinking Fellers Union Local 282,
Nas,
Fort Wilson Riot,
Popol Vuh,
Joyce Sims,
Shuggie Otis,
Average White Band,
Roxy Music,
Young Marble Giants,
Pete Rock & C.L. Smooth,
Underground Resistance,
Roy Ayers,
Motorama,
The Neon Judgement,
Eric B and Rakim,
The Modern Lovers,
Monks,
Harpers Bizarre,
The Doors,
Kevin Saunderson,
Curtis Mayfield,
The Dead C,
Quadrant,
Rahsaan Roland Kirk,
Erykah Badu,
The Standells,
Schoolly D,
The Cure,
The Sonics,
Gang Starr,
Model 500,
Brothers Johnson,
Rhythm & Sound,
The Men They Couldn't Hang,
Pere Ubu,
K-Klass,
Swell Maps,
Matthew Bourne,
Radiopuhelimet,
Archie Shepp,
Blake Baxter,
The Human League,
Tubeway Army,
Bauhaus,
Interpol,
Scientists,
Magazine,
Terrestrial Tones,
Subhumans,
Josef K,
Susan Cadogan,
Crispy Ambulance,
The J.B.'s,
Stockholm Monsters,
Laurel Aitken,
Liaisons Dangereuses,
Gastr Del Sol, Gastr Del Sol, Gastr Del Sol, Gastr Del Sol.
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.