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 Slovenia and from Edmonton.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Beijing and Madrid.
I'm losing my edge to the art-school Houston 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 arpeggiator 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 Sly & The Family Stone to the funk kids.
I played it at Trash.
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 John Coltrane. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every Bobby Byrd 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 '70s.
I hear you're buying a synthesizer and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Interpol,
Echospace,
Camouflage,
Mission of Burma,
Grauzone,
DJ Style,
Juan Atkins,
Jerry Gold Smith,
The Misunderstood,
Barrington Levy,
Ponytail,
Suburban Knight,
Ken Boothe,
Erasure,
Mad Mike,
Dave Gahan,
Deakin,
Blake Baxter,
Arab on Radar,
The Names,
Roy Ayers Ubiquity,
Symarip,
Sunsets and Hearts,
Parry Music,
Warren Ellis,
Andrew Ashong & Theo Parrish,
Minor Threat,
Desert Stars,
Suicide,
Godley & Creme,
The Walker Brothers,
Joy Division,
Bluetip,
Jawbox,
Goldenarms,
10cc,
Minutemen,
The Pretty Things,
Eric B and Rakim,
Tomorrow,
Kaleidoscope,
The Men They Couldn't Hang,
Gong,
Selector Dub Narcotic,
Johnny Osbourne,
Altered Images,
Hardrive,
Pole,
Circle Jerks,
In Retrospect,
Drive Like Jehu,
Isaac Hayes,
Captain Beefheart & His Magic Band,
Lyres,
The New Christs,
Marshall Jefferson,
Duran Duran,
48th St. Collective,
Maleditus Sound,
June of 44,
Schoolly D,
F. McDonald,
Bill Near,
A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls.
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.