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 Luxembourg and from New York.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Lille 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 Mistral practice in a loft in Amsterdam.
I was working on the 808 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 Sun Ra to the techno 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 The Electric Prunes. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Henry Cow 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 harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless 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?
Lightning Bolt,
Yusef Lateef,
CMW,
Suburban Knight,
Skaos,
Spoonie Gee,
Ituana,
Fluxion,
Glambeats Corp.,
Fugazi,
Anthony Braxton,
Ossler,
X-101,
Rod Modell,
Surgeon,
Bronski Beat,
Tears for Fears,
Subhumans,
PIL,
Vainqueur,
Alison Limerick,
Lizzy Mercier Descloux,
Theoretical Girls,
The Fuzztones,
Ajijia Myrayebe,
Main Source,
Erykah Badu,
The Music Machine,
Hardrive,
Electric Light Orchestra,
The Busters,
Nirvana,
Reagan Youth,
Röyhkä ja Rättö ja Lehtisalo,
A Certain Ratio,
A Flock of Seagulls,
Qualms,
Max Romeo,
Aloha Tigers,
Interpol,
Maleditus Sound,
The Litter,
Amon Düül II,
Lou Reed & Metallica,
Black Bananas,
Duran Duran,
Metal Thangz,
The Angels of Light,
Tom Boy,
Charles Mingus,
Smog,
The Mojo Men,
Cheater Slicks,
Orchestral Manoeuvres in the Dark,
Gerry Rafferty,
Joey Negro,
Donny Hathaway,
The Neon Judgement,
John Holt,
Marcia Griffiths,
Silicon Teens,
Guru Guru,
Tim Buckley, Tim Buckley, Tim Buckley, Tim Buckley.
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.