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 Qatar and from Lille.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Halifax.
I'm losing my edge to the art-school Paris 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 Lou Reed 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 Peter Gordon & Love of Life Orchestra to the disco kids.
I played it at the Hacienda.
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 Chrome. All the underground hits.
All Spandau Ballet tracks. I heard you have a vinyl of every Man Parrish record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Black Moon record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kenny Larkin,
Television,
Wolf Eyes,
Scientists,
Yusef Lateef,
James White and The Blacks,
Strawberry Alarm Clock,
Roger Hodgson,
Sugar Minott,
Sly & The Family Stone,
The Fuzztones,
The Techniques,
Dead Boys,
Connie Case,
Letta Mbulu,
Ajijia Myrayebe,
Los Fastidios,
Fear,
Pussy Galore,
Subhumans,
Con Funk Shun,
Ultra Naté,
The Dave Clark Five,
cv313,
Harmonia,
Mad Mike,
Jacob Miller,
The American Breed,
The Black Dice,
The Chocolate Watch Band,
UT,
Laurel Aitken,
Flamin' Groovies,
Deepchord,
Cybotron,
Aswad,
Hoover,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Slits,
Bobbi Humphrey,
AZ,
Hot Snakes,
The West Coast Pop Art Experimental Band,
Terry Callier,
The Cowsills,
DNA,
Sun City Girls,
Funky Four + One,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Lee Hazlewood,
Rotary Connection,
Fluxion,
Derrick May,
Clear Light,
Silicon Teens,
Al Stewart,
the Bar-Kays,
Zapp,
Todd Rundgren,
Howard Jones,
Eric Copeland,
The Associates,
One Last Wish, One Last Wish, One Last Wish, One Last Wish.
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.