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 Spain and from Manchester.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Glasgow.
I'm losing my edge to the art-school Salvador 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 marimba 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 Roy Ayers Ubiquity to the disco kids.
I played it at the Spitz.
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 Scion. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every The Chocolate Watch Band record on German import.
I heard that you have a white label of every seminal crunk 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 harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Archie Shepp record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David McCallum,
Ultravox,
Wally Richardson,
The Residents,
Neu!,
The Divine Comedy,
Delon & Dalcan,
The Pretty Things,
Don Cherry,
Angels of Light & Akron/Family,
EPMD,
Brand Nubian,
Pet Shop Boys,
Girls At Our Best!,
the Slits,
Ponytail,
Lalo Schifrin,
Rhythm & Sound,
Ronan,
Yaz,
Bootsy Collins,
the Germs,
the Swans,
Dual Sessions,
Saccharine Trust,
Derrick May,
The Smoke,
Howard Jones,
Alphaville,
Moss Icon,
Intrusion,
Stiv Bators,
Ice-T,
Nas,
Max Romeo,
Nik Kershaw,
Eric B and Rakim,
The New Christs,
The Tremeloes,
Beasts of Bourbon,
cv313,
the Human League,
Eurythmics,
Q and Not U,
Selector Dub Narcotic,
The Detroit Cobras,
Alton Ellis,
Wolf Eyes,
U.S. Maple,
Nirvana,
June of 44,
Bang On A Can,
Andrew Hill,
Pere Ubu,
Röyhkä ja Rättö ja Lehtisalo,
Urselle,
Janne Schatter,
Bobby Womack,
Silicon Teens,
Junior Murvin,
Livin' Joy, Livin' Joy, Livin' Joy, Livin' Joy.
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.