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 Eritrea and from Mumbai.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Portland and Glasgow.
I'm losing my edge to the art-school Sao Paulo 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 mellotron sounds with much patience.
I was there when Robert Palmer 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 Reuben Wilson to the punk kids.
I played it at the 40 Watt.
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 Cymande. All the underground hits.
All Notorious Big And Bone Thugs tracks. I heard you have a vinyl of every The Trojans record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
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 The Jesus and Mary Chain record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb 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 Remains,
The Modern Lovers,
New Age Steppers,
June of 44,
Kango’s Stein Massive,
Swell Maps,
Schoolly D,
Maleditus Sound,
The Velvet Underground,
Panda Bear,
Juan Atkins,
New York Dolls,
The Cramps,
The Cure,
CMW,
Deadbeat,
Khruangbin,
Inner City,
Quantec,
The Searchers,
the Slits,
T. Rex,
Rahsaan Roland Kirk,
ABBA,
Black Sheep,
The Dirtbombs,
Pete Rock & C.L. Smooth,
Monks,
Sly & The Family Stone,
Bang On A Can,
the Bar-Kays,
Rowland S Howard / Lydia Lunch,
Lee Hazlewood,
Lou Reed,
Anthony Braxton,
Lou Christie,
Jacques Brel,
Shuggie Otis,
MC5,
Pagans,
Grey Daturas,
Rhythim Is Rhythim,
Dave Gahan,
Gian Franco Pienzio,
Little Man,
the Germs,
Groovy Waters,
Joey Negro,
Malaria!,
Roxy Music,
Sound Behaviour,
Pole,
Neu!,
Erasure,
Lightning Bolt,
Pere Ubu,
Joensuu 1685,
Grandmaster Flash,
Kurtis Blow,
Deakin,
Quando Quango,
Second Layer, Second Layer, Second Layer, Second Layer.
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.