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 Bangladesh and from Bologna.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Shanghai and Lagos.
I'm losing my edge to the art-school Tehran 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 clarinet 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 Q and Not U to the dance kids.
I played it at the Hacienda.
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 Sad Lovers and Giants. All the underground hits.
All Radiopuhelimet tracks. I heard you have a vinyl of every Leonard Cohen record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yusef Lateef,
The Fall,
Skriet,
The Seeds,
Ohio Players,
Black Sheep,
The Names,
Harry Pussy,
Loose Ends,
Hardrive,
ABBA,
Glambeats Corp.,
Heaven 17,
The Dirtbombs,
Lizzy Mercier Descloux,
ABC,
The Five Americans,
Joensuu 1685,
Neu!,
Gian Franco Pienzio,
Wings,
The Cure,
Sunsets and Hearts,
Barry Ungar,
Nirvana,
Cheater Slicks,
Funkadelic,
The Blues Magoos,
Grey Daturas,
Louis and Bebe Barron,
Bluetip,
Simply Red,
Dual Sessions,
JFA,
Robert Hood,
Kauko Röyhkä ja Narttu,
Sight & Sound,
Isaac Hayes,
Amon Düül,
Whodini,
The Beau Brummels,
Robert Görl,
Interpol,
John Holt,
Ultravox,
Visionaries,LMNO, T- Love & Iriscience,
Banda Bassotti,
Half Japanese,
Gregory Isaacs,
Marine Girls,
Minutemen,
Brothers Johnson,
Von Mondo,
Alison Limerick,
Pere Ubu,
Liaisons Dangereuses,
Roger Hodgson,
Dawn Penn,
Idris Muhammad,
Marvin Gaye,
The Chocolate Watch Band,
The Shadows of Knight,
Jerry's Kids,
Nik Kershaw, Nik Kershaw, Nik Kershaw, Nik Kershaw.
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.