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 Barbados and from Mumbai.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Lille and Spokane.
I'm losing my edge to the art-school Glasgow 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 clarinet sounds with much patience.
I was there when Michael McDonald 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 The American Breed to the jazz kids.
I played it at Trash.
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 Oblivians. All the underground hits.
All Soft Cell tracks. I heard you have a vinyl of every The Busters 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 '50s cut and another box set from the '90s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Moby Grape record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gabor Szabo,
Gil Scott-Heron and Jamie xx,
48th St. Collective,
Schoolly D,
Notorious Big And Bone Thugs,
Ultra Naté,
Scott Walker,
a-ha,
The American Breed,
Bobbi Humphrey,
Ash Ra Tempel,
Nas,
The Monochrome Set,
Technova,
The Barracudas,
Lalann,
Rites of Spring,
Funky Four + One,
Sonic Youth,
Roy Ayers Ubiquity,
Con Funk Shun,
Minny Pops,
Country Teasers,
Pantaleimon,
Jesper Dahlback,
Lonnie Liston Smith,
Groovy Waters,
R.M.O.,
T. Rex,
Au Pairs,
Agent Orange,
The Index,
Mandrill,
Frankie Knuckles,
Los Fastidios,
Selector Dub Narcotic,
The Slits,
The Residents,
John Coltrane,
Donald Byrd,
Public Image Ltd.,
Soul II Soul,
Alice Coltrane,
kango's stein massive,
Excepter,
Bob Dylan,
Underground Resistance,
Kerri Chandler,
Ohio Players,
Drive Like Jehu,
Carl Craig,
Suburban Knight,
Peter & Gordon,
The Birthday Party,
David Axelrod,
The Mojo Men,
The New Christs,
Ajijia Myrayebe,
Heaven 17,
The Knickerbockers,
The United States of America,
Lou Reed & John Cale,
Pharoah Sanders, Pharoah Sanders, Pharoah Sanders, Pharoah Sanders.
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.