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 Netherlands and from Milan.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Tokyo and Woodstock.
I'm losing my edge to the art-school New York 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 güiro 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 Maleditus Sound to the electroclash 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 Roy Ayers. All the underground hits.
All Dual Sessions tracks. I heard you have a vinyl of every The Angels of Light record on German import.
I heard that you have a white label of every seminal electroclash 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 a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Black Moon record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ajijia Myrayebe,
L. Decosne,
Kango’s Stein Massive,
Minnie Riperton,
The Zeros,
Robert Görl,
Pierre Henry,
Strawberry Alarm Clock,
Johnny Osbourne,
Dennis Brown,
Circle Jerks,
Saccharine Trust,
Blossom Toes,
K-Klass,
U.S. Maple,
Marc Almond,
James Chance & The Contortions,
Charles Mingus,
Ronnie Foster,
Skarface,
Scott Walker,
Severed Heads,
Excepter,
Marshall Jefferson,
Clear Light,
Underground Resistance,
The Skatalites,
Toni Rubio,
Bush Tetras,
June of 44,
The Grass Roots,
Moby Grape,
Public Image Ltd.,
Black Flag,
The Remains,
New Age Steppers,
Sad Lovers and Giants,
Suburban Knight,
Louis and Bebe Barron,
The Sonics,
Eddi Front,
Camron Feat. Memphis Bleek And Beenie Seigel,
Wasted Youth,
Electric Light Orchestra,
Supertramp,
Ituana,
Electric Prunes,
Ralphi Rosario,
David Axelrod,
Second Layer,
Dave Gahan,
Man Parrish,
Con Funk Shun,
Newcleus,
the Association,
Lindisfarne,
Agitation Free,
Eden Ahbez,
The Sound,
Sly & The Family Stone,
Audionom,
Richard Hell and the Voidoids,
Roger Hodgson, Roger Hodgson, Roger Hodgson, Roger Hodgson.
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.