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 Sweden and from Stockholm.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Spokane and Shanghai.
I'm losing my edge to the art-school Philadelphia 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the marimba 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 Max Romeo to the rap 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 The Busters. All the underground hits.
All Thee Headcoats tracks. I heard you have a vinyl of every A Certain Ratio 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 '70s cut and another box set from the '70s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Traffic Nightmare record.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pet Shop Boys,
Be Bop Deluxe,
DeepChord presents Echospace,
Graham Central Station,
Davy DMX,
Pere Ubu,
the Swans,
Pharaoh Sanders and the Fire Engines,
Procol Harum,
Oppenheimer Analysis,
Lou Reed & Metallica,
Funkadelic,
Faust,
Gary Puckett & The Union Gap,
Funky Four + One,
Tim Buckley,
Andrew Hill,
the Fania All-Stars,
B.T. Express,
Ultravox,
Zero Boys,
Babytalk,
K-Klass,
Franke,
Wings,
Lindisfarne,
Grey Daturas,
Vainqueur,
Aloha Tigers,
This Heat,
Au Pairs,
Camouflage,
The Royal Family And The Poor,
The Pretty Things,
Erasure,
Accadde A,
Simply Red,
Eurythmics,
Pulsallama,
Moby Grape,
La Düsseldorf,
The Wake,
Scan 7,
Audionom,
Bill Near,
Robert Görl,
a-ha,
Deutsch Amerikanische Freundschaft,
Rekid,
The Human League,
Teenage Jesus and the Jerks,
Roy Ayers Ubiquity,
Alice Coltrane,
Bill Wells,
Danielle Patucci,
Gil Scott-Heron and Jamie xx,
Lou Christie,
Gang Green,
Wolf Eyes,
Cheater Slicks,
Con Funk Shun,
Byron Stingily,
Spoonie Gee,
Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson, Bobby Hutcherson.
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.