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 Peru and from Madrid.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1965 to 1973.
I'm losing my edge.
To all the kids in Tehran and Lille.
I'm losing my edge to the art-school Taipei 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 Michael McDonald 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 Black Dice to the rock kids.
I played it at the Astoria.
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 Ultravox. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Sly & The Family Stone 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 '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monks,
John Foxx,
Ash Ra Tempel,
Newcleus,
Main Source,
Gong,
Rotary Connection,
Ralphi Rosario,
Girls At Our Best!,
Davy DMX,
Gian Franco Pienzio,
Isaac Hayes,
T.S.O.L.,
The Selecter,
Rakim,
Public Image Ltd.,
Alton Ellis,
Stereo Dub,
Maleditus Sound,
Donny Hathaway,
Arthur Verocai,
L. Decosne,
Lalann,
Sexual Harrassment,
Fad Gadget,
Fugazi,
The Detroit Cobras,
Dennis Brown,
The Grass Roots,
Barry Ungar,
The Associates,
The New Christs,
the Germs,
Prince Buster,
Sonny Sharrock,
The Move,
The Slits,
Gil Scott-Heron & Brian Jackson,
Ken Boothe,
H. Thieme,
The Angels of Light,
Country Joe & The Fish,
Roxy Music,
Scientists,
Pylon,
Ultravox,
Fat Boys,
The Sisters of Mercy,
Kool Moe Dee,
Jeff Mills,
Bauhaus,
Fluxion,
Gang Green,
Cybotron,
Ajijia Myrayebe,
Nas,
Zero Boys,
MC5,
Monolake,
Delon & Dalcan,
Jeff Lynne, Jeff Lynne, Jeff Lynne, Jeff Lynne.
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.