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 Madagascar and from Jakarta.
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 1972.
I'm losing my edge.
To all the kids in Sao Paulo and Stockholm.
I'm losing my edge to the art-school Toronto 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 mellotron 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 Ohio Players to the grunge kids.
I played it at Trash.
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 Marine Girls. All the underground hits.
All Nas tracks. I heard you have a vinyl of every Groovy Waters record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a rhodes and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flipper,
Soul II Soul,
Laurel Aitken,
Amon Düül II,
The Barracudas,
Graham Central Station,
The Tremeloes,
Wally Richardson,
Excepter,
Letta Mbulu,
Teenage Jesus and the Jerks,
Slave,
Althea and Donna,
The Sound,
The Black Dice,
Das Ding,
B.T. Express,
Babytalk,
Blossom Toes,
Rapeman,
Kango’s Stein Massive,
The Cramps,
Pussy Galore,
Whodini,
Aswad,
The Associates,
Be Bop Deluxe,
The Gun Club,
Outsiders,
The J.B.'s,
Surgeon,
Freddie Wadling,
Radio Birdman,
Marshall Jefferson,
Aaron Thompson,
The Victims,
The Five Americans,
Pantytec,
Minor Threat,
Model 500,
Marine Girls,
Joensuu 1685,
Rosa Yemen,
Accadde A,
Nik Kershaw,
The Divine Comedy,
The Electric Prunes,
Crooked Eye,
Rekid,
Visionaries,LMNO, T- Love & Iriscience,
Maurizio,
Sun Ra Arkestra,
Amon Düül,
Half Japanese,
Jeff Mills,
June of 44,
Faraquet,
Fela Kuti,
Eurythmics,
Agent Orange,
Tomorrow,
Rod Modell, Rod Modell, Rod Modell, Rod Modell.
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.