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 Andorra and from Manila.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1961 to 1978.
I'm losing my edge.
To all the kids in New York and Milan.
I'm losing my edge to the art-school Accra 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the spring reverb 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 Circle Jerks to the jazz kids.
I played it at the 40 Watt.
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 Black Pus. All the underground hits.
All Camron Feat. Memphis Bleek And Beenie Seigel tracks. I heard you have a vinyl of every Nirvana 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 '50s cut and another box set from the '80s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott-Heron and Jamie xx,
Parry Music,
Barrington Levy,
Strawberry Alarm Clock,
Roger Hodgson,
Nils Olav,
Jesper Dahlbäck,
Minnie Riperton,
Black Pus,
Echo & the Bunnymen,
The Standells,
Mary Jane Girls,
Black Moon,
Neu!,
Letta Mbulu,
Angry Samoans,
The Moody Blues,
Minny Pops,
X-102,
Sexual Harrassment,
DJ Sneak,
Lou Christie,
The Saints,
Unrelated Segments,
Barbara Tucker,
Reagan Youth,
Das Ding,
David Bowie,
Supertramp,
H. Thieme,
Marc Almond,
The Smiths,
James White and The Blacks,
Dead Boys,
Minor Threat,
The Motions,
James Chance & The Contortions,
Eric B and Rakim,
Ultimate Spinach,
The Sonics,
The Cramps,
Crispy Ambulance,
The Gories,
the Germs,
Smog,
The Gap Band,
Trumans Water,
Bad Manners,
Gian Franco Pienzio,
The Mighty Diamonds,
Blossom Toes,
A Flock of Seagulls,
Mr. Review,
The Seeds,
Icehouse,
Brass Construction,
Ten City,
Todd Rundgren,
10cc, 10cc, 10cc, 10cc.
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.