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 Sudan and from Stockholm.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Toronto and Manchester.
I'm losing my edge to the art-school Portland 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the harpsichord sounds with much patience.
I was there when Lou Reed 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 Black Moon to the jazz kids.
I played it at the Spitz.
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 The Cosmic Jokers. All the underground hits.
All The Kinks tracks. I heard you have a vinyl of every Anakelly record on German import.
I heard that you have a white label of every seminal electroclash 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 linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oppenheimer Analysis,
Das Ding,
The Buckinghams,
Deakin,
Lyres,
Super Lover Cee & Casanova Rud,
Bang on a Can All-Stars,
Man Eating Sloth,
The Moody Blues,
Saccharine Trust,
The United States of America,
the Germs,
The Blackbyrds,
James Chance & The Contortions,
Rahsaan Roland Kirk,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Derrick Morgan,
Drive Like Jehu,
Rod Modell,
Hardrive,
The Barracudas,
Terrestrial Tones,
Magazine,
The Pop Group,
Funkadelic,
The Jesus and Mary Chain,
Lee Hazlewood,
Erasure,
Yazoo,
Erykah Badu,
Kerrie Biddell,
Reagan Youth,
Todd Rundgren,
The Motions,
David Bowie,
Carl Craig,
The Blues Magoos,
John Holt,
Procol Harum,
the Slits,
The Music Machine,
Electric Light Orchestra,
Minny Pops,
Surgeon,
Gil Scott-Heron & Brian Jackson,
Maleditus Sound,
Scott Walker,
Wolf Eyes,
The Remains,
Radiohead,
Model 500,
Main Source,
Art Ensemble Of Chicago,
Depeche Mode,
F. McDonald,
Thinking Fellers Union Local 282,
Terry Callier,
Arthur Verocai,
Be Bop Deluxe,
June of 44,
cv313,
Judy Mowatt,
The Chocolate Watch Band,
The Monochrome Set, The Monochrome Set, The Monochrome Set, The Monochrome Set.
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.