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 Russia and from Halifax.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1964 to 1973.
I'm losing my edge.
To all the kids in London and Portland.
I'm losing my edge to the art-school Sao Paulo 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 spring reverb 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 Cheater Slicks to the funk kids.
I played it at the Crocodile.
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 Selecter. All the underground hits.
All Flamin' Groovies tracks. I heard you have a vinyl of every Livin' Joy 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 '80s cut and another box set from the '90s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a the Fania All-Stars record.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Kinks,
Deakin,
Strawberry Alarm Clock,
Hoover,
a-ha,
Jesper Dahlbäck,
Silicon Teens,
Terrestrial Tones,
Joe Finger,
Underground Resistance,
Mo-Dettes,
Kas Product,
Marine Girls,
Porter Ricks,
Animal Collective,
Anakelly,
Arab on Radar,
Scott Walker,
Bluetip,
London Community Gospel Choir,
Rekid,
Iggy Pop,
Ultravox,
Rapeman,
A Flock of Seagulls,
Soft Machine,
Skriet,
La Düsseldorf,
Scion,
Howard Jones,
DeepChord presents Echospace,
Larry & the Blue Notes,
Cabaret Voltaire,
Graham Central Station,
Unrelated Segments,
Soft Cell,
The Evens,
The Dave Clark Five,
Marvin Gaye,
Maleditus Sound,
Roxette,
Alice Coltrane,
The Remains,
The Motions,
The Vogues,
The Star Department,
Monks,
The Blues Magoos,
Thinking Fellers Union Local 282,
Slave,
Urselle,
Echospace,
Mars,
Lou Reed & John Cale,
Bobbi Humphrey,
Liaisons Dangereuses,
Wire,
Todd Rundgren,
Jeff Mills, Jeff Mills, Jeff Mills, Jeff Mills.
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.