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 Brazil and from Accra.
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 1966 to 1973.
I'm losing my edge.
To all the kids in Jakarta and Woodstock.
I'm losing my edge to the art-school Bologna 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 1968 at the first Can practice in a loft in Cologne.
I was working on the rhodes sounds with much patience.
I was there when Donald Fagen 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 Rekid to the jazz 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 David Axelrod. All the underground hits.
All Big Daddy Kane tracks. I heard you have a vinyl of every the Sonics record on German import.
I heard that you have a white label of every seminal jazz 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 snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Roxette record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Lynne,
The American Breed,
A Flock of Seagulls,
Ossler,
Los Fastidios,
Boredoms,
Ten City,
Larry & the Blue Notes,
Stereo Dub,
Warsaw,
The Standells,
Liaisons Dangereuses,
The Gun Club,
Donald Byrd,
X-101,
Nico,
Erasure,
Outsiders,
Sexual Harrassment,
Lindisfarne,
The Victims,
Cymande,
Manfred Mann's Earth Band,
Hot Snakes,
Sixth Finger,
Ronnie Foster,
It's A Beautiful Day,
Rotary Connection,
Curtis Mayfield,
Spoonie Gee,
Circle Jerks,
The Flesh Eaters,
KRS-One,
Vladislav Delay,
The Saints,
Brothers Johnson,
The Black Dice,
Mandrill,
Carl Craig,
Lalo Schifrin,
CMW,
Lafayette Afro Rock Band,
James Chance & The Contortions,
Lou Reed,
Monolake,
Robert Wyatt,
Rhythim Is Rhythim,
Orchestral Manoeuvres in the Dark,
Jandek,
Funky Four + One,
Davy DMX,
Kevin Saunderson,
Black Sheep,
Louis and Bebe Barron,
Masters at Work,
This Heat,
Deakin,
Drexciya,
Au Pairs,
Young Marble Giants,
Gary Puckett & The Union Gap,
Tears for Fears,
Terror Squad Feat. Camron, Terror Squad Feat. Camron, Terror Squad Feat. Camron, Terror Squad Feat. Camron.
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.