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 Papua New Guinea and from Bremen.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1979.
I'm losing my edge.
To all the kids in Glasgow and Lagos.
I'm losing my edge to the art-school Paris 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 synthesizer 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 Audionom to the grime kids.
I played it at the Spitz.
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 Siglo XX. All the underground hits.
All Neil Young & Crazy Horse tracks. I heard you have a vinyl of every Stetsasonic record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Misunderstood record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joensuu 1685,
Hot Snakes,
Pantytec,
Heavy D & The Boyz,
Bizarre Inc.,
48th St. Collective,
The Sound,
Selector Dub Narcotic,
Camberwell Now,
The Mummies,
The Kinks,
Guru Guru,
Blancmange,
The Moody Blues,
Smog,
Deakin,
Eric B and Rakim,
K-Klass,
The Last Poets,
Zero Boys,
the Swans,
Popol Vuh,
Icehouse,
Duran Duran,
Tomorrow,
Black Bananas,
The Associates,
Clear Light,
The Index,
The Durutti Column,
Big Daddy Kane,
Unrelated Segments,
Alice Coltrane,
LL Cool J,
Nick Fraelich,
The Velvet Underground,
Dead Boys,
Swans,
The Leaves,
The Doobie Brothers,
Minutemen,
Ohio Players,
Gastr Del Sol,
Cymande,
Charles Mingus,
MC5,
Half Japanese,
The Toasters,
Sunsets and Hearts,
Echo & the Bunnymen,
Carl Craig,
The Selecter,
Sun Ra,
New Order,
Rowland S Howard / Lydia Lunch,
Peter Gordon & Love of Life Orchestra,
The Peanut Butter Conspiracy,
Wire,
Matthew Bourne,
Susan Cadogan,
The Remains, The Remains, The Remains, The Remains.
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.