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 Ecuador and from Winnipeg.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Hong Kong and Tokyo.
I'm losing my edge to the art-school Mumbai 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the sitar sounds with much patience.
I was there when Donald Fagen 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 Das Ding to the disco kids.
I played it at Cafe Wha.
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 Roxette. All the underground hits.
All The Sisters of Mercy tracks. I heard you have a vinyl of every Tom Boy record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sandy B record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lakeside,
Gastr Del Sol,
The Move,
Scientists,
The Mighty Diamonds,
Ultravox,
Ajijia Myrayebe,
Kerrie Biddell,
Flipper,
Half Japanese,
Roy Ayers,
Faraquet,
Goldenarms,
The Angels of Light,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bizarre Inc.,
The Kinks,
Rapeman,
Bobby Womack,
World's Most,
Amazonics,
Sun Ra Arkestra,
Drive Like Jehu,
Babytalk,
Gil Scott-Heron & Brian Jackson,
The Human League,
Sixth Finger,
The Sisters of Mercy,
Anakelly,
Graham Central Station,
Toni Rubio,
Tomorrow,
Donald Byrd,
Pantytec,
Newcleus,
Saccharine Trust,
The Searchers,
June Days,
Bob Dylan,
Desert Stars,
The Jesus and Mary Chain,
D'Angelo,
DNA,
Monks,
The Selecter,
Rites of Spring,
Bootsy Collins,
Wally Richardson,
Derrick May,
The Grass Roots,
Kool G Rap & DJ Polo,
Adolescents,
Marc Almond,
Magazine,
Roxy Music,
Chris & Cosey,
Fugazi,
Pole,
Visionaries,LMNO, T- Love & Iriscience,
Icehouse,
Joyce Sims,
Ultimate Spinach,
Pylon,
LL Cool J,
The Seeds, The Seeds, The Seeds, The Seeds.
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.