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 Macedonia and from Milan.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1977.
I'm losing my edge.
To all the kids in Taipei and London.
I'm losing my edge to the art-school Manchester 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 harpsichord sounds with much patience.
I was there when David Bowie 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 Jacob Miller to the dance kids.
I played it at the Troubador.
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 Barbara Tucker. All the underground hits.
All Cameo tracks. I heard you have a vinyl of every London Community Gospel Choir 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 '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Major Organ And The Adding Machine,
Joey Negro,
Deutsch Amerikanische Freundschaft,
Joe Smooth,
Fatback Band,
One Last Wish,
The Happenings,
the Association,
X-Ray Spex,
Crash Course in Science,
Tim Buckley,
Con Funk Shun,
Mission of Burma,
The Toasters,
Heaven 17,
Avey Tare,
Danielle Patucci,
David McCallum,
Orchestral Manoeuvres in the Dark,
Ice-T,
Suburban Knight,
Sister Nancy,
Ludus,
Lizzy Mercier Descloux,
Oneida,
Motorama,
Nick Fraelich,
Ten City,
The Flesh Eaters,
China Crisis,
Nas,
June Days,
The Gladiators,
Severed Heads,
Symarip,
Tears for Fears,
Jimmy McGriff,
Notorious BIG live in Amsterdam,
The Five Americans,
Rhythim Is Rhythim,
Public Image Ltd.,
Roy Ayers,
Derrick May,
The Barracudas,
Neil Young & Crazy Horse,
Public Enemy,
Mo-Dettes,
Delta 5,
Harmonia,
Donny Hathaway,
Sällskapet,
the Bar-Kays,
The Sound,
Man Eating Sloth,
World's Most,
Los Fastidios,
Moby Grape,
Andrew Hill,
Tom Boy,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.