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 Mauritania and from London.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Tokyo.
I'm losing my edge to the art-school Seoul 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 David Bowie 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 Lonnie Liston Smith to the funk kids.
I played it at the Hacienda.
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 Holt. All the underground hits.
All Max Romeo tracks. I heard you have a vinyl of every Technova record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Desert Stars record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter and Kerry,
LL Cool J,
The Saints,
Flamin' Groovies,
Moss Icon,
Eric Dolphy,
Rites of Spring,
The Slits,
The Evens,
Slave,
Howard Jones,
Alphaville,
Unwound,
Livin' Joy,
Eden Ahbez,
Bobby Womack,
Isaac Hayes,
the Normal,
The Flesh Eaters,
The Offenders,
Saccharine Trust,
Kaleidoscope,
The Associates,
June Days,
Sexual Harrassment,
the Association,
Bill Wells,
Radiopuhelimet,
Röyhkä ja Rättö ja Lehtisalo,
Roxette,
The Leaves,
Deadbeat,
Soulsonic Force,
Barclay James Harvest,
Popol Vuh,
Bush Tetras,
The Remains,
Mandrill,
Quando Quango,
Buzzcocks,
Underground Resistance,
Morten Harket,
Blake Baxter,
Joyce Sims,
Yazoo,
Blancmange,
Wire,
Agent Orange,
CMW,
The Real Kids,
MDC,
Don Cherry,
the Fania All-Stars,
China Crisis,
Outsiders,
Brick,
Chris & Cosey,
Gregory Isaacs,
Young Marble Giants,
Nico,
Roy Ayers,
Lucky Dragons,
Rekid, Rekid, Rekid, Rekid.
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.