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 Ethiopia and from Johannesburg.
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 1961 to 1971.
I'm losing my edge.
To all the kids in Sao Paulo and Bremen.
I'm losing my edge to the art-school Lagos 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 güiro 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 Tim Buckley 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 Underground Resistance. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every Marcia Griffiths record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your guitar and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ludus,
The Modern Lovers,
the Human League,
Matthew Bourne,
Kaleidoscope,
The Fall,
Isaac Hayes,
Index,
Fat Boys,
Ituana,
Super Lover Cee & Casanova Rud,
The Music Machine,
Pierre Henry,
Tim Buckley,
Sex Pistols,
Byron Stingily,
Quadrant,
Mandrill,
Rotary Connection,
The American Breed,
Crooked Eye,
Jerry's Kids,
The Kinks,
Masters at Work,
The New Christs,
Mars,
Gian Franco Pienzio,
Stockholm Monsters,
Youth Brigade,
kango's stein massive,
The Mighty Diamonds,
Big Daddy Kane,
Wolf Eyes,
Y Pants,
A Flock of Seagulls,
The Blues Magoos,
The Men They Couldn't Hang,
The Moody Blues,
Nirvana,
Popol Vuh,
Depeche Mode,
David Axelrod,
Kurtis Blow,
Eric Copeland,
Notorious Big And Bone Thugs,
Lou Reed,
Rekid,
Joe Smooth,
Oppenheimer Analysis,
Tommy Roe,
Gang Gang Dance,
DJ Sneak,
Scan 7,
the Association,
Camouflage,
Bush Tetras,
Rahsaan Roland Kirk,
U.S. Maple,
Trumans Water,
The Skatalites,
The Count Five, The Count Five, The Count Five, The Count Five.
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.