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 Guatemala and from Beijing.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1975.
I'm losing my edge.
To all the kids in Portland and Toronto.
I'm losing my edge to the art-school Columbus 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 snare sounds with much patience.
I was there when Robert Palmer 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 Michelle Simonal to the crunk kids.
I played it at the Crocodile.
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 Erasure. All the underground hits.
All The Techniques tracks. I heard you have a vinyl of every The Sisters of Mercy record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a X-101 record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Royal Family And The Poor,
JFA,
Bob Dylan,
Radiopuhelimet,
Symarip,
Adolescents,
Avey Tare,
Fad Gadget,
Connie Case,
Toni Rubio,
Nico,
The Gap Band,
Godley & Creme,
Mars,
Public Image Ltd.,
Neil Young,
Scan 7,
Joey Negro,
Letta Mbulu,
Babytalk,
The Names,
Outsiders,
Brick,
Drexciya,
Teenage Jesus and the Jerks,
Liliput,
Notorious Big And Bone Thugs,
Carl Craig,
Roxette,
Young Marble Giants,
Fatback Band,
Bluetip,
Jawbox,
The Seeds,
Von Mondo,
The Offenders,
Maurizio,
Ituana,
John Cale,
Absolute Body Control,
The Gories,
Quadrant,
the Normal,
Jerry's Kids,
Grandmaster Flash and the Furious Five,
Drive Like Jehu,
The Doors,
Bobby Byrd,
The Mojo Men,
Albert Ayler,
Rites of Spring,
Red Lorry Yellow Lorry,
The Monochrome Set,
K-Klass,
Ornette Coleman,
John Foxx,
Bootsy Collins,
Mad Mike,
Essential Logic,
The Monks,
R.M.O., R.M.O., R.M.O., R.M.O..
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.