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 Uganda and from Beijing.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Jakarta and Philadelphia.
I'm losing my edge to the art-school Salvador 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 Robert Palmer 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 Cheater Slicks to the grime kids.
I played it at the Troubador.
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 Stockholm Monsters. All the underground hits.
All Black Pus tracks. I heard you have a vinyl of every Louis and Bebe Barron 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 '80s.
I hear you're buying a sitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swell Maps,
Bobbi Humphrey,
The Smiths,
Cluster,
Dual Sessions,
Kevin Saunderson,
Andrew Hill,
Jeff Mills,
Nick Cave & The Bad Seeds,
Joyce Sims,
Glambeats Corp.,
Skaos,
Lyres,
Average White Band,
Nation of Ulysses,
Ponytail,
Tres Demented,
Jeru the Damaja,
Sällskapet,
Chris & Cosey,
Lou Christie,
The Techniques,
Brass Construction,
Ash Ra Tempel,
Barry Ungar,
Jacob Miller,
Scratch Acid,
Be Bop Deluxe,
Vladislav Delay,
Silicon Teens,
The Associates,
Ultimate Spinach,
Graham Central Station,
Electric Light Orchestra,
Mission of Burma,
Organ,
Grandmaster Flash and the Furious Five,
The Tremeloes,
Gian Franco Pienzio,
The Trojans,
The Last Poets,
The Stooges,
Gang of Four,
The Standells,
Icehouse,
World's Most,
Anakelly,
Hoover,
Absolute Body Control,
Ohio Players,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Heavy D & The Boyz,
Lizzy Mercier Descloux,
Pole,
Fluxion,
Pantytec,
Ornette Coleman,
The Golliwogs,
The New Christs,
Desert Stars,
the Soft Cell,
Grey Daturas, Grey Daturas, Grey Daturas, Grey Daturas.
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.