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 Barbados and from Glasgow.
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 1974.
I'm losing my edge.
To all the kids in Milan and Sao Paulo.
I'm losing my edge to the art-school Edmonton 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the marimba 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 Mandrill to the techno 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 Half Japanese. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every The Residents 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 '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 Sly & The Family Stone record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Letta Mbulu,
David Axelrod,
Bill Wells,
Art Ensemble Of Chicago,
a-ha,
The Remains,
Avey Tare's Slasher Flicks,
Gregory Isaacs,
Gerry Rafferty,
A Flock of Seagulls,
Faust,
Boogie Down Productions,
Roy Ayers,
Eric B and Rakim,
Matthew Halsall,
Judy Mowatt,
Average White Band,
Lou Christie,
Soft Cell,
Beasts of Bourbon,
Sun Ra Arkestra,
Bronski Beat,
Wally Richardson,
U.S. Maple,
Adolescents,
Barry Ungar,
The Martian,
Stetsasonic,
The Mojo Men,
Alice Coltrane,
Monolake,
Peter Gordon & Love of Life Orchestra,
Pulsallama,
Vaughan Mason & Crew,
Liliput,
Eddi Front,
Thee Headcoats,
The Smoke,
Masters at Work,
Wire,
LL Cool J,
Ituana,
The Toasters,
Yellowson,
The Motions,
Man Eating Sloth,
Pylon,
Joe Finger,
The Chocolate Watch Band,
the Bar-Kays,
Icehouse,
Joyce Sims,
Big Daddy Kane,
Terror Squad Feat. Camron,
Alphaville,
Aaron Thompson,
Agent Orange,
Glambeats Corp.,
Ronnie Foster,
Heaven 17,
Slick Rick,
Underground Resistance,
kango's stein massive, kango's stein massive, kango's stein massive, kango's stein massive.
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.