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 Palau and from Houston.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Winnipeg and Paris.
I'm losing my edge to the art-school Sao Paulo 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 synthesizer sounds with much patience.
I was there when Nile Rodgers 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 Deutsch Amerikanische Freundschaft to the rock 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 LL Cool J. All the underground hits.
All Dennis Brown tracks. I heard you have a vinyl of every The American Breed 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 '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
In Retrospect,
The Trojans,
James Chance & The Contortions,
Section 25,
Harmonia,
Gabor Szabo,
Joensuu 1685,
The Zeros,
Glambeats Corp.,
Echo & the Bunnymen,
Mo-Dettes,
Roxy Music,
The Shadows of Knight,
Todd Terry,
The Buckinghams,
Steve Hackett,
Rapeman,
The Index,
Faraquet,
the Bar-Kays,
Ultravox,
Nils Olav,
The Pop Group,
The Doobie Brothers,
Kauko Röyhkä ja Narttu,
The Saints,
Theoretical Girls,
The Happenings,
Babytalk,
The Slits,
Skriet,
Ice-T,
The Fire Engines,
Quadrant,
Radio Birdman,
Pierre Henry,
Aaron Thompson,
Sugar Minott,
Stereo Dub,
Ajijia Myrayebe,
It's A Beautiful Day,
Joyce Sims,
The Young Rascals,
8 Eyed Spy,
Los Fastidios,
Stetsasonic,
The Monochrome Set,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Victims,
Radiopuhelimet,
The Cosmic Jokers,
Yaz,
The American Breed,
Lyres,
Joe Finger,
Peter & Gordon,
Rhythm & Sound,
Thee Headcoats,
Porter Ricks,
Faust,
New York Dolls,
Danielle Patucci,
Cybotron, Cybotron, Cybotron, Cybotron.
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.