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 Singapore and from Edmonton.
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 Glasgow and Bremen.
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 1983 at the first Art of Noise practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 The Moody Blues to the dance kids.
I played it at the Crocodile.
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 American Breed. All the underground hits.
All A Certain Ratio tracks. I heard you have a vinyl of every The Moleskins record on German import.
I heard that you have a white label of every seminal disco 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 mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Boredoms record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Wake,
Strawberry Alarm Clock,
Niagra,
Alton Ellis,
Sister Nancy,
E-Dancer,
The Fortunes,
Jimmy McGriff,
Danielle Patucci,
Fear,
Yellowson,
Barbara Tucker,
Index,
Gil Scott-Heron & Brian Jackson,
Cabaret Voltaire,
DNA,
Anthony Braxton,
Unwound,
Byron Stingily,
Bizarre Inc.,
Vaughan Mason & Crew,
Schoolly D,
Minutemen,
Gian Franco Pienzio,
Colin Newman,
Pierre Henry,
Selector Dub Narcotic,
Adolescents,
Big Daddy Kane,
The Gories,
Grandmaster Flash and the Furious Five,
Ultravox,
Inner City,
Desert Stars,
This Heat,
Theoretical Girls,
Electric Light Orchestra,
Unrelated Segments,
The Evens,
Amon Düül II,
Davy DMX,
Barclay James Harvest,
Jeff Mills,
The Blues Magoos,
Major Organ And The Adding Machine,
Scrapy,
Graham Central Station,
Porter Ricks,
Yaz,
Average White Band,
Rahsaan Roland Kirk,
Soft Machine,
Radiopuhelimet,
Livin' Joy,
Sun Ra Arkestra,
Charles Mingus,
Junior Murvin,
Bobby Womack,
June Days, June Days, June Days, June Days.
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.