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 India and from Winnipeg.
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 1973.
I'm losing my edge.
To all the kids in Halifax and Taipei.
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 1984 at the first Arcadia practice in a loft in London.
I was working on the linndrum 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 the Swans to the jazz 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 Ronnie Foster. All the underground hits.
All X-102 tracks. I heard you have a vinyl of every Warsaw 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 '60s cut and another box set from the '70s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Easy Going 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?
The Real Kids,
Sarah Menescal,
The Music Machine,
Yazoo,
Bluetip,
Spandau Ballet,
Pole,
Aural Exciters,
Dave Gahan,
The J.B.'s,
The Five Americans,
DJ Sneak,
Lou Reed & John Cale,
Eden Ahbez,
Jeff Lynne,
Interpol,
The Searchers,
the Slits,
Quando Quango,
David Axelrod,
Max Romeo,
Eric B and Rakim,
Crash Course in Science,
Avey Tare & Kría Brekkan,
Unwound,
Sun City Girls,
Ohio Players,
Godley & Creme,
Minor Threat,
Popol Vuh,
Funky Four + One,
Blancmange,
Gang Gang Dance,
Bobbi Humphrey,
Kevin Saunderson,
Ajijia Myrayebe,
Buzzcocks,
Alice Coltrane,
Curtis Mayfield,
the Fania All-Stars,
DeepChord presents Echospace,
Massinfluence,
New Order,
The Associates,
Lafayette Afro Rock Band,
New York Dolls,
Throbbing Gristle,
The Dave Clark Five,
Schoolly D,
Patti Smith,
Chrome,
Ludus,
Lou Reed & Metallica,
The Cosmic Jokers,
John Holt,
a-ha,
Infiniti,
Althea and Donna,
Groovy Waters,
The Selecter,
Toni Rubio,
Eve St. Jones,
Monks, Monks, Monks, Monks.
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.