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 Guinea and from Accra.
But I was there.
I was there in .
I was there at the first Suicide 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 1960 to 1970.
I'm losing my edge.
To all the kids in Tehran and Madrid.
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 harpsichord 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 the Slits to the rap 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 The Doobie Brothers. All the underground hits.
All The Names tracks. I heard you have a vinyl of every Pere Ubu 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 '70s cut and another box set from the '80s.
I hear you're buying a snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Godley & Creme,
Black Sheep,
Fugazi,
Wire,
Derrick May,
The Moleskins,
Surgeon,
Lizzy Mercier Descloux,
World's Most,
David Bowie,
Thinking Fellers Union Local 282,
Shuggie Otis,
Red Lorry Yellow Lorry,
Deutsch Amerikanische Freundschaft,
The Monks,
the Human League,
JFA,
Procol Harum,
Sound Behaviour,
Crispy Ambulance,
Shoche,
Public Image Ltd.,
Notorious Big And Bone Thugs,
Richard Hell and the Voidoids,
Nas,
De La Soul & Jungle Brothers,
Kings Of Tomorrow,
Ornette Coleman,
Chris & Cosey,
Moebius,
Mr. Review,
Drexciya,
Rosa Yemen,
Ohio Players,
The Durutti Column,
DeepChord presents Echospace,
Tears for Fears,
Inner City,
Skriet,
The Men They Couldn't Hang,
Khruangbin,
The Velvet Underground,
Fear,
Prince Buster,
Susan Cadogan,
Soft Machine,
Ten City,
Marvin Gaye,
Desert Stars,
Gichy Dan,
Juan Atkins,
Heaven 17,
Young Marble Giants,
The Fire Engines,
The Detroit Cobras,
Tomorrow,
Jerry Gold Smith,
London Community Gospel Choir,
Avey Tare & Kría Brekkan,
Kurtis Blow,
In Retrospect,
Peter Gordon & Love of Life Orchestra,
Vladislav Delay,
The Dave Clark Five,
The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band, The Chocolate Watch Band.
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.