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 Nepal and from Beijing.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Edmonton and Mexico City.
I'm losing my edge to the art-school Toronto 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 1984 at the first Arcadia practice in a loft in London.
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 Morten Harket to the electroclash kids.
I played it at the Hacienda.
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 Jawbox. All the underground hits.
All Essential Logic tracks. I heard you have a vinyl of every Reagan Youth record on German import.
I heard that you have a white label of every seminal dance 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 a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your theremin and bought an organ.
I hear that you and your band have sold your organ and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DNA,
The Neon Judgement,
Eric Dolphy,
Sun City Girls,
Eve St. Jones,
Kenny Larkin,
AZ,
The Star Department,
Crispian St. Peters,
Silicon Teens,
Stetsasonic,
Jesper Dahlback,
Camron Feat. Memphis Bleek And Beenie Seigel,
Eden Ahbez,
Slick Rick,
The Move,
Black Pus,
Japan,
Q65,
Stiv Bators,
Severed Heads,
Jacques Brel,
The Fuzztones,
Colin Newman,
Eric B and Rakim,
cv313,
Fluxion,
Roxy Music,
Angry Samoans,
Blossom Toes,
Jerry's Kids,
Second Layer,
Barclay James Harvest,
The Smoke,
The Flesh Eaters,
The Smiths,
Television Personalities,
X-101,
Ken Boothe,
Shoche,
Alton Ellis,
The Cowsills,
The Evens,
Cabaret Voltaire,
The Martian,
Slave,
Radiopuhelimet,
Ituana,
Model 500,
Spandau Ballet,
Gil Scott-Heron & Brian Jackson,
The Happenings,
Black Bananas,
The Grass Roots,
The Index,
Franke,
Charles Mingus,
Oppenheimer Analysis,
Teenage Jesus and the Jerks,
Mo-Dettes,
Au Pairs,
Ultravox, Ultravox, Ultravox, Ultravox.
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.