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 Paris.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Portland and Calgary.
I'm losing my edge to the art-school Seoul 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 Josef K practice in a loft in Edinburgh.
I was working on the linndrum 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 The Motions to the grunge kids.
I played it at the Roxy.
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 Camberwell Now. All the underground hits.
All The Pretty Things tracks. I heard you have a vinyl of every The New Christs record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gil Scott Heron,
Tropical Tobacco,
Subhumans,
The Detroit Cobras,
Q65,
Masters at Work,
K-Klass,
Severed Heads,
Ponytail,
June Days,
Gang Green,
Camron Feat. Memphis Bleek And Beenie Seigel,
Minor Threat,
The American Breed,
The Gun Club,
Orchestral Manoeuvres in the Dark,
Notorious BIG live in Amsterdam,
Simply Red,
Royal Trux,
Sixth Finger,
Strawberry Alarm Clock,
Saccharine Trust,
Moss Icon,
Ten City,
Vainqueur,
Das Ding,
Ice-T,
Echospace,
Donny Hathaway,
Fatback Band,
Bobbi Humphrey,
The Techniques,
Youth Brigade,
Arab on Radar,
Soft Machine,
Man Eating Sloth,
the Germs,
N.O.R.E. Featuring Pharrell,
Young Marble Giants,
Eric Dolphy,
Ultimate Spinach,
The Jesus and Mary Chain,
the Sonics,
Eden Ahbez,
Roxy Music,
Gang Starr,
John Coltrane,
Spandau Ballet,
the Human League,
Warsaw,
The Wake,
Blake Baxter,
Gabor Szabo,
AZ,
Public Image Ltd.,
Roy Ayers Ubiquity,
Marc Almond,
Essential Logic,
John Holt,
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.