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 Iraq and from Hong Kong.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Bremen.
I'm losing my edge to the art-school Sao Paulo 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 sitar 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 Kauko Röyhkä ja Narttu to the dance kids.
I played it at CBGB's.
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 David McCallum. All the underground hits.
All Supertramp tracks. I heard you have a vinyl of every The Smiths 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 '90s.
I hear you're buying a theremin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Kool G Rap & DJ Polo record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
B.T. Express,
Masters at Work,
Big Daddy Kane,
Yusef Lateef,
Peter & Gordon,
Guru Guru,
Gregory Isaacs,
Richard Hell and the Voidoids,
John Cale,
Jerry's Kids,
Symarip,
Trumans Water,
Barry Ungar,
The Wake,
Hot Snakes,
Deutsch Amerikanische Freundschaft,
David Axelrod,
Soft Machine,
The Golliwogs,
Pulsallama,
Robert Görl,
Barbara Tucker,
A Flock of Seagulls,
Siouxsie and the Banshees,
Negative Approach,
Isaac Hayes,
Scott Walker + Sunn O))),
Matthew Bourne,
The Martian,
Avey Tare & Kría Brekkan,
Yaz,
Das Ding,
Prince Buster,
The Knickerbockers,
Mo-Dettes,
Hashim,
Fluxion,
Boogie Down Productions,
Electric Prunes,
The Move,
Minutemen,
Rosa Yemen,
the Swans,
Sun Ra Arkestra,
Sarah Menescal,
Outsiders,
Howard Jones,
Brand Nubian,
Brothers Johnson,
Tom Boy,
Camberwell Now,
Bauhaus,
Deakin,
The Chocolate Watch Band,
Heaven 17,
Dave Gahan,
Roxette,
Eurythmics,
The Fire Engines,
Grey Daturas,
Lindisfarne,
Jesper Dahlbäck,
Model 500,
Rapeman, Rapeman, Rapeman, Rapeman.
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.