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 Zimbabwe and from Mumbai.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1977.
I'm losing my edge.
To all the kids in Halifax and Hong Kong.
I'm losing my edge to the art-school Jakarta 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 mellotron 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 Lonnie Liston Smith to the punk kids.
I played it at Trash.
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 Infiniti. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every Donald Byrd 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 '70s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Anakelly record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mr. Review,
The Leaves,
Barrington Levy,
Jesper Dahlbäck,
Art Ensemble Of Chicago,
Hardrive,
The West Coast Pop Art Experimental Band,
Moebius,
Letta Mbulu,
Eurythmics,
John Foxx,
Tomorrow,
The Gap Band,
Mission of Burma,
Isaac Hayes,
Archie Shepp,
Ornette Coleman,
The Chocolate Watch Band,
Max Romeo,
Fatback Band,
The Mojo Men,
Barry Ungar,
Man Parrish,
Liaisons Dangereuses,
L. Decosne,
Kings Of Tomorrow,
Byron Stingily,
Urselle,
Model 500,
Con Funk Shun,
Eddi Front,
The Offenders,
John Holt,
F. McDonald,
The Blackbyrds,
The Dead C,
The Fire Engines,
Nation of Ulysses,
T. Rex,
Make Up,
Idris Muhammad,
The Divine Comedy,
Laurel Aitken,
Blake Baxter,
Minor Threat,
Traffic Nightmare,
Rakim,
The Motions,
Hoover,
10cc,
Swell Maps,
Heavy D & The Boyz,
Nico,
Magazine,
Fifty Foot Hose,
Thompson Twins,
Delta 5,
The Stooges,
World's Most,
Moby Grape,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
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.