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 Mauritius and from Shanghai.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Mexico City and Lille.
I'm losing my edge to the art-school Bologna 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 mellotron 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 The Victims to the grunge kids.
I played it at the Troubador.
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 Cameo. All the underground hits.
All Electric Light Orchestra tracks. I heard you have a vinyl of every Talk Talk record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Davy DMX record.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Röyhkä ja Rättö ja Lehtisalo,
Country Joe & The Fish,
Harry Pussy,
The United States of America,
Severed Heads,
Heaven 17,
Sun Ra,
Toni Rubio,
Von Mondo,
Beasts of Bourbon,
Iggy Pop,
R.M.O.,
Boogie Down Productions,
Roxy Music,
Rhythm & Sound,
JFA,
Piero Umiliani,
Prince Buster,
The Monochrome Set,
Electric Light Orchestra,
U.S. Maple,
F. McDonald,
Jandek,
Boredoms,
Peter & Gordon,
Charles Mingus,
Stockholm Monsters,
Monolake,
Robert Wyatt,
Arcadia,
Strawberry Alarm Clock,
Cabaret Voltaire,
Slick Rick,
Liaisons Dangereuses,
Joyce Sims,
Arab on Radar,
The J.B.'s,
Fad Gadget,
Lindisfarne,
Crash Course in Science,
The Standells,
Marine Girls,
David Axelrod,
Drexciya,
Robert Görl,
Nas,
Wally Richardson,
Anakelly,
The Toasters,
Bang On A Can,
The Music Machine,
Red Lorry Yellow Lorry,
The Cure,
The Saints,
Rites of Spring,
Easy Going,
Joe Finger,
Soul Sonic Force,
Ajijia Myrayebe,
Notorious Big And Bone Thugs,
Dark Day, Dark Day, Dark Day, Dark Day.
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.