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 Finland and from Tehran.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1962 to 1971.
I'm losing my edge.
To all the kids in Bologna and Halifax.
I'm losing my edge to the art-school Jakarta 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 1973 at the first Television practice in a loft in New York.
I was working on the spring reverb 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 The Human League to the disco 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 Godley & Creme. All the underground hits.
All Desert Stars tracks. I heard you have a vinyl of every The Grass Roots record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Y Pants,
The Human League,
Los Fastidios,
Big Daddy Kane,
Crash Course in Science,
Liliput,
the Normal,
Lonnie Liston Smith,
The Velvet Underground,
Juan Atkins,
Michelle Simonal,
Minor Threat,
Lakeside,
Jeff Mills,
The Music Machine,
The Men They Couldn't Hang,
Echo & the Bunnymen,
Soft Cell,
Major Organ And The Adding Machine,
Make Up,
Captain Beefheart & His Magic Band,
Pussy Galore,
48th St. Collective,
Derrick Morgan,
DNA,
Gastr Del Sol,
Derrick May,
Sun City Girls,
Deutsch Amerikanische Freundschaft,
The American Breed,
Chrome,
Echospace,
Buzzcocks,
Lebanon Hanover,
The Count Five,
Das Ding,
The Dave Clark Five,
Soulsonic Force,
Brothers Johnson,
Pere Ubu,
FM Einheit,
Scan 7,
Zero Boys,
Jerry Gold Smith,
Oneida,
The Slackers,
Masters at Work,
The Moody Blues,
Peter Gordon & Love of Life Orchestra,
A Flock of Seagulls,
Average White Band,
X-102,
Boredoms,
Stetsasonic,
Funkadelic,
Hasil Adkins,
The Litter,
Basic Channel,
Slick Rick,
Marc Almond,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
One Last Wish,
Pylon, Pylon, Pylon, Pylon.
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.