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 Philippines and from Lyon.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Halifax.
I'm losing my edge to the art-school London 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 1976 at the first Wire practice in a loft in Watford.
I was working on the spring reverb sounds with much patience.
I was there when Nile Rodgers 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 Lonnie Liston Smith to the rock 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 Mission of Burma. All the underground hits.
All Liliput tracks. I heard you have a vinyl of every Idris Muhammad 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 '70s cut and another box set from the '70s.
I hear you're buying a 808 and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Eurythmics record.
I hear that you and your band have sold your chamberlin and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deepchord,
Pharaoh Sanders and the Fire Engines,
Crispian St. Peters,
Thee Headcoats,
Harpers Bizarre,
Masters at Work,
The Sound,
Sad Lovers and Giants,
Malaria!,
Radio Birdman,
Amon Düül II,
Eden Ahbez,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Marvin Gaye,
Michelle Simonal,
DJ Style,
Pussy Galore,
Susan Cadogan,
the Sonics,
Harry Pussy,
Eyeless In Gaza,
These Immortal Souls,
Sexual Harrassment,
Kauko Röyhkä ja Narttu,
The Moody Blues,
Lalann,
Gary Puckett & The Union Gap,
Frankie Knuckles,
Liaisons Dangereuses,
The Young Rascals,
Fluxion,
Tres Demented,
Ornette Coleman,
Derrick May,
Althea and Donna,
Wally Richardson,
Zero Boys,
New Age Steppers,
Rites of Spring,
Alton Ellis,
The Gories,
Pagans,
Camron Feat. Memphis Bleek And Beenie Seigel,
Byron Stingily,
Barrington Levy,
Television,
Lou Reed & John Cale,
Jerry Gold Smith,
Peter and Kerry,
Fat Boys,
Ultra Naté,
World's Most,
Spandau Ballet,
Super Lover Cee & Casanova Rud,
Godley & Creme,
Boredoms,
Shoche,
Suburban Knight,
Glenn Branca,
Joensuu 1685,
Bill Near, Bill Near, Bill Near, Bill Near.
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.