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 Samoa and from Stockholm.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1977.
I'm losing my edge.
To all the kids in Stockholm and Hong Kong.
I'm losing my edge to the art-school Tokyo 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 spring reverb 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 Second Layer to the dance 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 8 Eyed Spy. All the underground hits.
All Vladislav Delay tracks. I heard you have a vinyl of every Deepchord record on German import.
I heard that you have a white label of every seminal funk 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 mellotron and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Depeche Mode record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Talk Talk,
The Skatalites,
Dual Sessions,
Avey Tare's Slasher Flicks,
The Vogues,
The Seeds,
Mark Hollis,
Lebanon Hanover,
Arab on Radar,
The Busters,
Bang on a Can All-Stars,
Lou Reed & Metallica,
Lou Reed & John Cale,
Desert Stars,
Ossler,
Royal Trux,
Steve Hackett,
Boogie Down Productions,
Michelle Simonal,
Masters at Work,
Beasts of Bourbon,
The Mojo Men,
Flipper,
Camouflage,
Spoonie Gee,
Angels of Light & Akron/Family,
The Pop Group,
Soft Machine,
Groovy Waters,
Frankie Knuckles,
Bobby Hutcherson,
Ludus,
Al Stewart,
The Doobie Brothers,
F. McDonald,
Gil Scott-Heron and Jamie xx,
Essential Logic,
Aaron Thompson,
Minny Pops,
X-101,
Moby Grape,
The United States of America,
Nils Olav,
Mo-Dettes,
Moss Icon,
Roxette,
Dark Day,
One Last Wish,
PIL,
Neil Young,
Rufus Thomas,
Funky Four + One,
Sonic Youth,
The Kinks,
The Neon Judgement,
Goldenarms,
The Young Rascals,
Marcia Griffiths,
Mars,
Anthony Braxton,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.