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 Cameroon and from Beijing.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Johannesburg and Spokane.
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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the rhodes 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 Kenny Larkin to the grunge kids.
I played it at the 40 Watt.
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 Pulsallama. All the underground hits.
All Al Stewart tracks. I heard you have a vinyl of every Quadrant record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a MDC record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Banda Bassotti,
Sun Ra,
The Alarm Clocks,
Marc Almond,
Cybotron,
Cabaret Voltaire,
Grey Daturas,
Eyeless In Gaza,
David Axelrod,
Joey Negro,
Icehouse,
Q and Not U,
Ultimate Spinach,
Kango’s Stein Massive,
Rhythm & Sound,
Subhumans,
Audionom,
Tubeway Army,
Darondo,
B.T. Express,
The Seeds,
Excepter,
The Real Kids,
Beasts of Bourbon,
Isaac Hayes,
The Music Machine,
Bootsy Collins,
The Selecter,
the Bar-Kays,
Heavy D & The Boyz,
Livin' Joy,
The Stooges,
Yusef Lateef,
The American Breed,
Todd Rundgren,
F. McDonald,
Tommy Roe,
Buzzcocks,
Kas Product,
Arthur Verocai,
Selector Dub Narcotic,
Moby Grape,
Peter Gordon & Love of Life Orchestra,
The Angels of Light,
The Shadows of Knight,
Red Lorry Yellow Lorry,
X-Ray Spex,
Peter and Kerry,
Japan,
Leonard Cohen,
Easy Going,
Popol Vuh,
Gong,
Theoretical Girls,
Chrome,
Minor Threat,
The Zeros,
The Move,
Crispian St. Peters,
Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's.
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.