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 Pakistan and from Mumbai.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Shanghai and Paris.
I'm losing my edge to the art-school Columbus 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 1978 at the first Visage practice in a loft in London.
I was working on the arpeggiator 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 Whodini to the jazz kids.
I played it at the 40 Watt.
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 Electric Light Orchestra. All the underground hits.
All Erykah Badu tracks. I heard you have a vinyl of every The Star Department 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 '80s cut and another box set from the '70s.
I hear you're buying a guitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Boredoms record.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quadrant,
The American Breed,
Heaven 17,
Shoche,
X-101,
Lou Reed,
Sticky Fingaz feat. Raekwon,
The Dirtbombs,
The Slackers,
Crime,
Red Lorry Yellow Lorry,
Hashim,
The Vogues,
Kerri Chandler,
Bobby Hutcherson,
Aloha Tigers,
Derrick Morgan,
Arcadia,
Soulsonic Force,
Ossler,
Mark Hollis,
Silicon Teens,
Delon & Dalcan,
Jeff Mills,
Half Japanese,
CMW,
Symarip,
The Pop Group,
Mission of Burma,
Jawbox,
Deutsch Amerikanische Freundschaft,
Tres Demented,
Negative Approach,
Notorious BIG live in Amsterdam,
Jerry Gold Smith,
Super Lover Cee & Casanova Rud,
Ultimate Spinach,
Alison Limerick,
Deakin,
Young Marble Giants,
Supertramp,
The Music Machine,
The Wake,
48th St. Collective,
The United States of America,
Rhythm & Sound,
Tim Buckley,
Wolf Eyes,
The J.B.'s,
Kerrie Biddell,
Bad Manners,
Gil Scott-Heron & Brian Jackson,
DNA,
The Gladiators,
the Human League,
Maurizio,
The Star Department,
Banda Bassotti,
Stiv Bators,
Janne Schatter,
Cabaret Voltaire,
Sam Rivers,
Nation of Ulysses,
The Doobie Brothers, The Doobie Brothers, The Doobie Brothers, The Doobie Brothers.
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.