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 Israel and from Edmonton.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Accra.
I'm losing my edge to the art-school Beijing 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 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 Blake Baxter to the techno kids.
I played it at Trash.
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 Interpol. All the underground hits.
All The Motions tracks. I heard you have a vinyl of every Boz Scaggs record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Suburban Knight record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
The Red Krayola,
Oblivians,
Andrew Hill,
The Durutti Column,
Moby Grape,
Whodini,
Terror Squad Feat. Camron,
Ronan,
Tubeway Army,
Peter Gordon & Love of Life Orchestra,
Half Japanese,
Derrick May,
Blake Baxter,
Bush Tetras,
Swans,
Sunsets and Hearts,
Oppenheimer Analysis,
Robert Wyatt,
Bizarre Inc.,
Urselle,
Harry Pussy,
JFA,
AZ,
D'Angelo,
Freddie Wadling,
The Pretty Things,
the Normal,
Flash Fearless,
Reagan Youth,
Joe Smooth,
Gil Scott-Heron & Brian Jackson,
Bang On A Can,
The Star Department,
Drive Like Jehu,
Sixth Finger,
Roxy Music,
John Lydon,
Gang Starr,
DNA,
Pete Rock & C.L. Smooth,
Public Enemy,
Big Daddy Kane,
The Jesus and Mary Chain,
Slave,
This Heat,
Newcleus,
Lungfish,
Colin Newman,
cv313,
Jesper Dahlbäck,
Visage,
Louis and Bebe Barron,
Oneida,
UT,
Johnny Clarke,
Massinfluence,
Camron Feat. Jay Z And Juelz,
Minny Pops,
Ken Boothe,
Maleditus Sound,
Kas Product,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.