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 Norway and from Edmonton.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Edmonton and Shanghai.
I'm losing my edge to the art-school Stockholm 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 chamberlin 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 Crime to the crunk 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 Girls At Our Best!. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every The Gladiators 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 '80s cut and another box set from the '70s.
I hear you're buying a marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Techniques record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Rotary Connection,
The Skatalites,
Gil Scott-Heron & Brian Jackson,
Tommy Roe,
The Neon Judgement,
Slick Rick,
Oblivians,
Lalo Schifrin,
Electric Light Orchestra,
Deepchord,
Red Lorry Yellow Lorry,
Technova,
Carl Craig,
Unrelated Segments,
Au Pairs,
Alphaville,
Banda Bassotti,
The Pretty Things,
The Gun Club,
The Dead C,
LL Cool J,
Icehouse,
Oneida,
Tubeway Army,
Jimmy McGriff,
Cecil Taylor,
The Monochrome Set,
The Barracudas,
The Leaves,
Pylon,
Ultravox,
Sun Ra,
The Durutti Column,
Faust,
Metal Thangz,
The Evens,
Idris Muhammad,
Fela Kuti,
Tears for Fears,
Nation of Ulysses,
Amon Düül,
Second Layer,
Dennis Brown,
Iggy Pop,
John Holt,
Deakin,
The Blues Magoos,
The Mighty Diamonds,
Outsiders,
Nik Kershaw,
Tom Boy,
New York Dolls,
Dorothy Ashby,
Traffic Nightmare,
Livin' Joy,
Con Funk Shun,
The Men They Couldn't Hang,
Fat Boys,
Royal Trux,
The American Breed,
The Real Kids,
Joe Finger, Joe Finger, Joe Finger, Joe Finger.
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.