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 Hong Kong.
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 1967 to 1970.
I'm losing my edge.
To all the kids in Accra and Jakarta.
I'm losing my edge to the art-school Winnipeg 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Black Sheep to the funk kids.
I played it at the Astoria.
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 Roxy Music. All the underground hits.
All Fela Kuti tracks. I heard you have a vinyl of every Lou Reed & Metallica record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Tomorrow record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Zeros,
Accadde A,
Jesper Dahlback,
Interpol,
X-Ray Spex,
Magazine,
Unwound,
Fort Wilson Riot,
the Soft Cell,
John Holt,
James White and The Blacks,
Bobby Womack,
Peter & Gordon,
Robert Görl,
The Knickerbockers,
the Slits,
Q65,
Danielle Patucci,
Sonny Sharrock,
Lalo Schifrin,
Robert Hood,
Franke,
The Count Five,
Pete Rock & C.L. Smooth,
Minnie Riperton,
Marc Almond,
Boz Scaggs,
Skaos,
Brass Construction,
U.S. Maple,
Joy Division,
The Searchers,
Wally Richardson,
Minutemen,
Scratch Acid,
John Cale,
Ultramagnetic MC's,
Procol Harum,
Kayak,
Ten City,
Smog,
Malaria!,
Y Pants,
Lungfish,
Mars,
The Angels of Light,
Shuggie Otis,
Strawberry Alarm Clock,
Neu!,
Grandmaster Flash and the Furious Five,
Crispian St. Peters,
The Stooges,
Avey Tare,
In Retrospect,
The Gap Band,
Dennis Brown,
Eden Ahbez,
Jerry Gold Smith,
Fluxion,
Joe Smooth,
Aloha Tigers, Aloha Tigers, Aloha Tigers, Aloha Tigers.
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.