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 St Kitts & Nevis and from Toronto.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Taipei and Hong Kong.
I'm losing my edge to the art-school Portland 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 Josef K practice in a loft in Edinburgh.
I was working on the mellotron 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 AZ to the rap 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 The Toasters. All the underground hits.
All Iggy Pop tracks. I heard you have a vinyl of every John Holt record on German import.
I heard that you have a white label of every seminal jazz 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 theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Super Lover Cee & Casanova Rud,
Slick Rick,
The Motions,
Eli Mardock,
Young Marble Giants,
Flash Fearless,
Michelle Simonal,
Zapp,
Index,
The Smiths,
Rosa Yemen,
Kool Moe Dee,
the Bar-Kays,
Drive Like Jehu,
Gang Gang Dance,
Funkadelic,
X-102,
Art Ensemble Of Chicago,
Whodini,
Hot Snakes,
Saccharine Trust,
Magazine,
Schoolly D,
Be Bop Deluxe,
Nik Kershaw,
Boredoms,
Subhumans,
Loose Ends,
Desert Stars,
Interpol,
The Index,
The Associates,
Dorothy Ashby,
Sexual Harrassment,
Pantaleimon,
Sparks,
Slave,
Alison Limerick,
Gil Scott Heron,
Sad Lovers and Giants,
Eric B and Rakim,
Cabaret Voltaire,
Sarah Menescal,
FM Einheit,
Donald Byrd,
Echospace,
Roxy Music,
Avey Tare's Slasher Flicks,
Marc Romboy vs. Booka Shade,
Davy DMX,
the Fania All-Stars,
Thinking Fellers Union Local 282,
John Foxx,
Junior Murvin,
KRS-One,
Terry Callier,
Richard Hell and the Voidoids,
Gastr Del Sol,
Rahsaan Roland Kirk,
Man Parrish,
Yusef Lateef,
Lindisfarne, Lindisfarne, Lindisfarne, Lindisfarne.
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.