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 Iraq and from Philadelphia.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Manchester and Manchester.
I'm losing my edge to the art-school Hong Kong 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 guitar 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 Terrestrial Tones to the disco kids.
I played it at the Astoria.
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 Darondo. All the underground hits.
All Derrick May tracks. I heard you have a vinyl of every Be Bop Deluxe 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 '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Real Kids record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Coltrane,
Mission of Burma,
Bauhaus,
Deutsch Amerikanische Freundschaft,
Kool G Rap & DJ Polo,
Kas Product,
Nik Kershaw,
Suburban Knight,
Howard Jones,
Lyres,
kango's stein massive,
Yaz,
The Gories,
Pagans,
Marc Romboy vs. Booka Shade,
Lucky Dragons,
cv313,
Hardrive,
Stiv Bators,
a-ha,
E-Dancer,
Skaos,
X-102,
Delta 5,
Barbara Tucker,
The Music Machine,
Heavy D & The Boyz,
Soulsonic Force,
Bootsy Collins,
The Grass Roots,
Carl Craig,
Soft Cell,
The Young Rascals,
Colin Newman,
Marshall Jefferson,
Grauzone,
Tom Boy,
Vaughan Mason & Crew,
Black Bananas,
MDC,
Lou Reed & John Cale,
Drive Like Jehu,
Lee Hazlewood,
Sixth Finger,
Soul Sonic Force,
Pierre Henry,
Robert Wyatt,
The Fall,
Echospace,
Scion,
Gang Green,
The Associates,
The Birthday Party,
Livin' Joy,
Can,
Rosa Yemen,
Neil Young & Crazy Horse,
Aaron Thompson,
UT,
Franke,
Surgeon,
Model 500,
Anakelly,
H. Thieme, H. Thieme, H. Thieme, H. Thieme.
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.