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 Georgia and from Toronto.
But I was there.
I was there in 1973.
I was there at the first Television 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 1977.
I'm losing my edge.
To all the kids in Cairo and Paris.
I'm losing my edge to the art-school Lagos 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 chamberlin sounds with much patience.
I was there when Captain Beefheart 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 Nik Kershaw to the funk kids.
I played it at the Troubador.
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 Clear Light. All the underground hits.
All Fugazi tracks. I heard you have a vinyl of every The Walker Brothers record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a güiro and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Grandmaster Flash record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Reagan Youth,
Masters at Work,
Mad Mike,
Curtis Mayfield,
The J.B.'s,
Cluster,
Gerry Rafferty,
Lonnie Liston Smith,
Rod Modell,
Letta Mbulu,
Public Image Ltd.,
Alison Limerick,
Ice-T,
The Moody Blues,
Tears for Fears,
Young Marble Giants,
Bad Manners,
Aswad,
Sandy B,
Bobby Sherman,
The Smoke,
Prince Buster,
The Buckinghams,
Bobby Hutcherson,
Accadde A,
Television Personalities,
The Raincoats,
Amon Düül,
Harpers Bizarre,
Pole,
Kings Of Tomorrow,
Red Lorry Yellow Lorry,
Make Up,
Bill Wells,
B.T. Express,
The Dave Clark Five,
Vladislav Delay,
The Knickerbockers,
The Saints,
Michelle Simonal,
Jerry Gold Smith,
The Busters,
Be Bop Deluxe,
Eyeless In Gaza,
The Mighty Diamonds,
Altered Images,
Soft Machine,
DNA,
Index,
Ohio Players,
T.S.O.L.,
Kerri Chandler,
The Standells,
Rapeman,
Piero Umiliani,
The Detroit Cobras,
Liaisons Dangereuses,
The Human League, The Human League, The Human League, The Human League.
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.