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 Japan and from New York.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Delhi and London.
I'm losing my edge to the art-school Cairo 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the harpsichord 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 Joey Negro to the rap kids.
I played it at CBGB's.
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 Wake. All the underground hits.
All Simply Red tracks. I heard you have a vinyl of every Bill Wells 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 '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Judy Mowatt record.
I hear that you and your band have sold your theremin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
Ultravox,
Parry Music,
Kerri Chandler,
Organ,
Sällskapet,
Eric B and Rakim,
The Birthday Party,
Spoonie Gee,
Charles Mingus,
Eden Ahbez,
Brothers Johnson,
Jesper Dahlbäck,
Jerry's Kids,
Hardrive,
Marc Romboy vs. Booka Shade,
Shoche,
Amazonics,
The Slackers,
Joensuu 1685,
Cabaret Voltaire,
Roxette,
The Techniques,
Inner City,
Warren Ellis,
Sixth Finger,
Girls At Our Best!,
The Royal Family And The Poor,
Royal Trux,
Sparks,
Wolf Eyes,
Max Romeo,
Fad Gadget,
Visage,
Leonard Cohen,
AZ,
New Age Steppers,
The Electric Prunes,
The Fall,
Mary Jane Girls,
The Dirtbombs,
Buzzcocks,
The Star Department,
Althea and Donna,
Bad Manners,
Amon Düül II,
Matthew Halsall,
Byron Stingily,
The Selecter,
Scientists,
The Tremeloes,
Brand Nubian,
Bang On A Can,
DeepChord presents Echospace,
Sarah Menescal,
Brick,
Kool G Rap & DJ Polo,
Bang on a Can All-Stars,
Nick Fraelich,
Whodini,
48th St. Collective, 48th St. Collective, 48th St. Collective, 48th St. Collective.
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.