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 Japan and from Manchester.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Shanghai and Paris.
I'm losing my edge to the art-school Salvador 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the rhodes 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 Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic to the grime kids.
I played it at the Troubador.
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 Fear. All the underground hits.
All Circle Jerks tracks. I heard you have a vinyl of every The Invisible 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 '80s cut and another box set from the '90s.
I hear you're buying an oboe and an organ and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sly & The Family Stone,
Stockholm Monsters,
Roy Ayers Ubiquity,
Danielle Patucci,
The Slits,
48th St. Collective,
Amazonics,
Quando Quango,
Second Layer,
Ultramagnetic MC's,
Andrew Ashong & Theo Parrish,
Peter Gordon & Love of Life Orchestra,
Saccharine Trust,
Yusef Lateef,
Pole,
Livin' Joy,
Schoolly D,
James Chance & The Contortions,
The United States of America,
The New Christs,
The Cosmic Jokers,
Pussy Galore,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ludus,
The Remains,
Pharaoh Sanders and the Fire Engines,
Jerry Gold Smith,
Angels of Light & Akron/Family,
Parry Music,
Soul II Soul,
Qualms,
Girls At Our Best!,
Shuggie Otis,
The Beau Brummels,
Procol Harum,
Minutemen,
Television,
Nation of Ulysses,
The Gories,
Stiv Bators,
John Foxx,
Scan 7,
Bootsy Collins,
The Real Kids,
The Music Machine,
The Men They Couldn't Hang,
Silicon Teens,
Bob Dylan,
Roy Ayers,
Minor Threat,
The Fortunes,
Marmalade,
Traffic Nightmare,
Terry Callier,
ABC,
Rapeman,
Derrick Morgan,
Talk Talk,
Colin Newman,
Mantronix,
Drexciya,
Dark Day, Dark Day, Dark Day, Dark Day.
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.