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 Grenada and from Lyon.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Madrid and Woodstock.
I'm losing my edge to the art-school Bremen 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the spring reverb 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 Eve St. Jones to the dance kids.
I played it at CBGB's.
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 Sarah Menescal. All the underground hits.
All Juan Atkins tracks. I heard you have a vinyl of every The Selecter 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 '80s cut and another box set from the '70s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Fat Boys record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mary Jane Girls,
Trumans Water,
Curtis Mayfield,
the Soft Cell,
Selector Dub Narcotic,
Charles Mingus,
B.T. Express,
Rahsaan Roland Kirk,
Jerry's Kids,
Nils Olav,
Avey Tare's Slasher Flicks,
Bootsy Collins,
Sandy B,
Major Organ And The Adding Machine,
The Fugs,
Crooked Eye,
Hashim,
One Last Wish,
Loose Ends,
T.S.O.L.,
Ronnie Foster,
Tres Demented,
Aaron Thompson,
Roy Ayers,
Eric B and Rakim,
Fugazi,
E-Dancer,
The Star Department,
John Lydon,
Bill Near,
Amon Düül II,
The Toasters,
De La Soul & Jungle Brothers,
Scion,
Art Ensemble Of Chicago,
Bauhaus,
Jesper Dahlback,
Cymande,
Gil Scott Heron,
Vladislav Delay,
Joe Finger,
Tomorrow,
Lou Christie,
The Human League,
Camberwell Now,
Kayak,
Alphaville,
Kool Moe Dee,
Albert Ayler,
Depeche Mode,
The Last Poets,
Sällskapet,
The Associates,
Rod Modell,
Sam Rivers,
Sun City Girls,
Camron Feat. Jay Z And Juelz,
The Smoke,
Shuggie Otis,
The Gun Club,
The Modern Lovers,
Kauko Röyhkä ja Narttu,
Johnny Osbourne,
Eve St. Jones, Eve St. Jones, Eve St. Jones, Eve St. Jones.
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.