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 Egypt and from Shanghai.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Johannesburg and Lille.
I'm losing my edge to the art-school Copenhagen 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 harpsichord 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 Davy DMX to the electroclash kids.
I played it at Cafe Wha.
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 Los Fastidios. All the underground hits.
All Erykah Badu tracks. I heard you have a vinyl of every Franke 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 '70s.
I hear you're buying a synthesizer and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Jesus and Mary Chain record.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crooked Eye,
Swans,
Johnny Osbourne,
Gang Green,
Sex Pistols,
Electric Light Orchestra,
Heavy D & The Boyz,
Juan Atkins,
Sandy B,
Robert Hood,
Whodini,
Matthew Halsall,
Monolake,
PIL,
Aural Exciters,
Television,
Ralphi Rosario,
Oblivians,
Pharaoh Sanders and the Fire Engines,
Accadde A,
Stockholm Monsters,
8 Eyed Spy,
The Monks,
Ludus,
Crash Course in Science,
Cameo,
Kaleidoscope,
Ash Ra Tempel,
The Real Kids,
The Motions,
Traffic Nightmare,
Howard Jones,
Bad Manners,
Tom Boy,
Deadbeat,
Public Image Ltd.,
Cymande,
Scott Walker,
June of 44,
Camberwell Now,
Rites of Spring,
Crispy Ambulance,
Amazonics,
Ossler,
Sarah Menescal,
Fela Kuti,
Moss Icon,
ABC,
The Count Five,
Section 25,
The Slits,
Joy Division,
Symarip,
Pulsallama,
Easy Going,
Dual Sessions,
Severed Heads,
T.S.O.L.,
Peter Gordon & Love of Life Orchestra,
Eve St. Jones,
CMW,
Ronan, Ronan, Ronan, Ronan.
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.