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 Argentina and from Tokyo.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Bologna and Stockholm.
I'm losing my edge to the art-school Toronto 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 marimba 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 Big Daddy Kane to the rock kids.
I played it at the Roxy.
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 Jeru the Damaja. All the underground hits.
All Quando Quango tracks. I heard you have a vinyl of every The Associates 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 '70s cut and another box set from the '90s.
I hear you're buying a clarinet and an organ and are throwing your macbook out the window because you want to make something real. You want to make a B.T. Express record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Charles Mingus,
Unrelated Segments,
Sällskapet,
The Men They Couldn't Hang,
The Motions,
Ossler,
Sad Lovers and Giants,
Pulsallama,
The Human League,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Ultra Naté,
Y Pants,
World's Most,
Bob Dylan,
Clear Light,
Aaron Thompson,
Josef K,
DeepChord presents Echospace,
Oppenheimer Analysis,
Sandy B,
Adolescents,
Rhythm & Sound,
Strawberry Alarm Clock,
Youth Brigade,
Camron Feat. Memphis Bleek And Beenie Seigel,
Aural Exciters,
Hoover,
Idris Muhammad,
Kauko Röyhkä ja Narttu,
Maurizio,
Kurtis Blow,
The Dave Clark Five,
Siouxsie and the Banshees,
A Certain Ratio,
Lee Hazlewood,
The Trojans,
The Star Department,
Black Sheep,
The Gap Band,
Jesper Dahlbäck,
Throbbing Gristle,
Art Ensemble Of Chicago,
Minutemen,
Niagra,
Mission of Burma,
8 Eyed Spy,
Amon Düül II,
The Tremeloes,
In Retrospect,
The Red Krayola,
Peter and Kerry,
Chrome,
Mandrill,
Crispian St. Peters,
Liliput,
Roy Ayers Ubiquity,
Magazine,
The Monks,
Arthur Verocai,
Avey Tare's Slasher Flicks,
Crime,
The Names,
Lou Reed,
Swell Maps,
Joy Division, Joy Division, Joy Division, Joy Division.
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.