Infinitely Losing My Edge

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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 Sierra Leone and from Glasgow.
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 Mexico City and Portland.
I'm losing my edge to the art-school Stockholm 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 808 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 Albert Ayler to the dance kids.
I played it at the Spitz.
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 David Axelrod. All the underground hits.

All X-102 tracks. I heard you have a vinyl of every Roy Ayers record on German import.

I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.

I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Pantaleimon record.

I hear that you and your band have sold your güiro and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a güiro.

I hear everybody that you know is more relevant than everybody that I know.

But have you seen my records?

Circle Jerks, Art Ensemble Of Chicago, Ituana, Yazoo, Lindisfarne, Sonny Sharrock, Reagan Youth, The Vogues, Ornette Coleman, Sly & The Family Stone, Avey Tare & Kría Brekkan, Joy Division, Interpol, Masta Ace, Craig G, Kool G Rap, Big Daddy Kane, Oneida, Camron Feat. Memphis Bleek And Beenie Seigel, Spoonie Gee, Derrick May, Bizarre Inc., Bad Manners, Stereo Dub, Nation of Ulysses, Delon & Dalcan, Babytalk, Bush Tetras, Roy Ayers Ubiquity, Warren Ellis, Model 500, Echospace, Carl Craig, Ken Boothe, Grey Daturas, The Fuzztones, Essential Logic, Liliput, Mad Mike, Das Ding, Big Daddy Kane, Hasil Adkins, Johnny Osbourne, Gary Puckett & The Union Gap, Deutsch Amerikanische Freundschaft, The Tremeloes, The Selecter, The Beau Brummels, Graham Central Station, Siouxsie and the Banshees, Glambeats Corp., Alton Ellis, Black Flag, E-Dancer, Vainqueur, Sexual Harrassment, MDC, Morten Harket, The Gap Band, The Last Poets, Amon Düül, One Last Wish, Urselle, Lakeside, Talk Talk, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks, Avey Tare's Slasher Flicks.

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.

A hack by Matthew Ogle who is very sorry to James Murphy and basically everyone (cheers to Darius and this for the late-night inspiration)