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 Jordan and from Delhi.
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 1968 to 1974.
I'm losing my edge.
To all the kids in Halifax and Madrid.
I'm losing my edge to the art-school Columbus 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 Nile Rodgers 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 Brick to the techno 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 Jesper Dahlbäck. All the underground hits.
All The Saints tracks. I heard you have a vinyl of every The Fugs 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 '70s cut and another box set from the '90s.
I hear you're buying a guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Pole record.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rahsaan Roland Kirk,
The Cramps,
The Angels of Light,
Orchestral Manoeuvres in the Dark,
Red Lorry Yellow Lorry,
Icehouse,
Spandau Ballet,
Gastr Del Sol,
Matthew Bourne,
The Kinks,
Aural Exciters,
Crime,
New Age Steppers,
X-Ray Spex,
The American Breed,
Nick Cave & The Bad Seeds,
Stereo Dub,
U.S. Maple,
Pharaoh Sanders and the Fire Engines,
Supertramp,
Notorious BIG live in Amsterdam,
Charles Mingus,
Marcia Griffiths,
Au Pairs,
Louis and Bebe Barron,
Echospace,
Fifty Foot Hose,
Gerry Rafferty,
Alison Limerick,
Soft Cell,
The Count Five,
Babytalk,
David Bowie,
The Flesh Eaters,
Hot Snakes,
Jacques Brel,
F. McDonald,
Second Layer,
Gang Starr,
Theoretical Girls,
Bluetip,
Throbbing Gristle,
Kevin Saunderson,
Wire,
Brothers Johnson,
Crash Course in Science,
The Black Dice,
Bobby Sherman,
Black Bananas,
Marc Romboy vs. Booka Shade,
UT,
Tom Boy,
Soft Machine,
Grandmaster Flash and the Furious Five,
Pole,
Cymande,
Ronnie Foster,
Terror Squad Feat. Camron,
The Fuzztones,
Alton Ellis,
Gabor Szabo,
Porter Ricks,
Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock, Strawberry Alarm Clock.
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.