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 Cape Verde and from Salvador.
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 1976.
I'm losing my edge.
To all the kids in Edmonton and Houston.
I'm losing my edge to the art-school Halifax 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 Holger Czukay 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 Index to the grime 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 L. Decosne. All the underground hits.
All Lalann tracks. I heard you have a vinyl of every Bill Wells 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 '60s cut and another box set from the '70s.
I hear you're buying a guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Manfred Mann's Earth Band record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ralphi Rosario,
Tears for Fears,
Gerry Rafferty,
Bronski Beat,
Fear,
John Holt,
Heavy D & The Boyz,
The Red Krayola,
Terry Callier,
cv313,
Alison Limerick,
Bootsy's Rubber Band,
Suburban Knight,
Maleditus Sound,
CMW,
FM Einheit,
Boz Scaggs,
Skarface,
A Flock of Seagulls,
Gang Green,
Jeff Lynne,
Aural Exciters,
Erasure,
Derrick May,
Derrick Morgan,
The Busters,
The Doobie Brothers,
Young Marble Giants,
Ponytail,
Angels of Light & Akron/Family,
Jerry's Kids,
Soft Cell,
Scott Walker,
Q65,
Amon Düül II,
Brass Construction,
Spandau Ballet,
New York Dolls,
Dennis Brown,
Slave,
Kool G Rap & DJ Polo,
Nik Kershaw,
Echospace,
Skaos,
Rowland S Howard / Lydia Lunch,
Wire,
Tomorrow,
The Flesh Eaters,
Funky Four + One,
The Gap Band,
Kevin Saunderson,
The Names,
Pantaleimon,
The Slackers,
Thompson Twins,
Iggy Pop,
Super Lover Cee & Casanova Rud,
Deakin,
Fela Kuti,
Matthew Bourne,
The Velvet Underground,
Wally Richardson, Wally Richardson, Wally Richardson, Wally Richardson.
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.