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 Zambia 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 1965 to 1977.
I'm losing my edge.
To all the kids in Madrid and Lille.
I'm losing my edge to the art-school Cairo 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the mellotron sounds with much patience.
I was there when Nile Rodgers 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 Kerrie Biddell to the grime 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 Janne Schatter. All the underground hits.
All Roy Ayers tracks. I heard you have a vinyl of every Deakin record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Orchestral Manoeuvres in the Dark record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Fania All-Stars,
Schoolly D,
Be Bop Deluxe,
Groovy Waters,
The Modern Lovers,
Dark Day,
The Slits,
FM Einheit,
Jerry Gold Smith,
The Cure,
Erasure,
K-Klass,
Nation of Ulysses,
The Count Five,
Donny Hathaway,
Hasil Adkins,
Archie Shepp,
One Last Wish,
Television Personalities,
The Cowsills,
Roy Ayers,
David McCallum,
Black Flag,
Darondo,
Lonnie Liston Smith,
Prince Buster,
Rotary Connection,
Anakelly,
Jeff Mills,
The Fall,
Funky Four + One,
Sun City Girls,
KRS-One,
The Offenders,
Nas,
DJ Style,
Spandau Ballet,
Fela Kuti,
Colin Newman,
Pulsallama,
MC5,
Marmalade,
Siouxsie and the Banshees,
The Fire Engines,
Unwound,
Lower 48,
Bang on a Can All-Stars,
Sunsets and Hearts,
Max Romeo,
Brass Construction,
The Move,
Gang Green,
Rakim,
World's Most,
Unrelated Segments,
The Pretty Things,
Charles Mingus,
Echo & the Bunnymen,
Gil Scott-Heron & Brian Jackson,
the Bar-Kays, the Bar-Kays, the Bar-Kays, the Bar-Kays.
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.