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 Uganda and from Milan.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Accra and Lille.
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 1973 at the first Television practice in a loft in New York.
I was working on the rhodes 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 Residents to the rock kids.
I played it at CBGB's.
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 Doors. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every Urselle record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Sister Nancy record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
John Lydon,
Tears for Fears,
Alison Limerick,
Crispian St. Peters,
Accadde A,
Guru Guru,
The Mummies,
X-102,
Eric B and Rakim,
Rakim,
Television,
Au Pairs,
Whodini,
Suburban Knight,
Animal Collective,
Kenny Larkin,
Judy Mowatt,
Zero Boys,
Lightning Bolt,
Funkadelic,
Monolake,
Kauko Röyhkä ja Narttu,
Half Japanese,
Little Man,
Barbara Tucker,
Swans,
The Smiths,
Barclay James Harvest,
Connie Case,
It's A Beautiful Day,
Stockholm Monsters,
Max Romeo,
Radiopuhelimet,
Yellowson,
Brand Nubian,
The Mighty Diamonds,
Roxy Music,
Tom Boy,
Oppenheimer Analysis,
Wolf Eyes,
Joy Division,
Underground Resistance,
Lou Christie,
Soul II Soul,
Jawbox,
Cameo,
Larry & the Blue Notes,
Public Enemy,
Boz Scaggs,
Bootsy's Rubber Band,
Alphaville,
Fad Gadget,
Gil Scott Heron,
The Five Americans,
The Slits,
Peter Gordon & Love of Life Orchestra,
Idris Muhammad,
The Evens,
Model 500, Model 500, Model 500, Model 500.
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.