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 Nauru and from Hong Kong.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Tokyo and Toronto.
I'm losing my edge to the art-school Mexico City 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 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 Aaron Thompson to the techno 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 the Human League. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every Nils Olav record on German import.
I heard that you have a white label of every seminal punk 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 synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Ultravox record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
DJ Style,
Bang on a Can All-Stars,
The Sisters of Mercy,
Slick Rick,
Freddie Wadling,
Notorious Big And Bone Thugs,
Johnny Osbourne,
The Monks,
Darondo,
Sight & Sound,
Intrusion,
Au Pairs,
D'Angelo,
Skarface,
Sällskapet,
Saccharine Trust,
Rod Modell,
Groovy Waters,
Scratch Acid,
Bang On A Can,
Gerry Rafferty,
Television,
cv313,
Silicon Teens,
Lee Hazlewood,
The Wake,
Todd Terry,
Avey Tare's Slasher Flicks,
Thompson Twins,
Jeru the Damaja,
Todd Rundgren,
Jawbox,
Rufus Thomas,
La Düsseldorf,
Grauzone,
Reuben Wilson,
The Evens,
Boz Scaggs,
Deutsch Amerikanische Freundschaft,
Danielle Patucci,
Mandrill,
Idris Muhammad,
John Holt,
Althea and Donna,
The Fuzztones,
Manfred Mann's Earth Band,
the Soft Cell,
Boredoms,
Sugar Minott,
Shoche,
Oneida,
Arab on Radar,
Lou Reed & John Cale,
Judy Mowatt,
Sarah Menescal,
Soul II Soul,
ABC,
Wally Richardson,
UT, UT, UT, UT.
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.