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 Congo and from Manila.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1978.
I'm losing my edge.
To all the kids in Philadelphia and Lyon.
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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Neil Young & Crazy Horse to the techno kids.
I played it at the Astoria.
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 Electric Prunes. All the underground hits.
All The Fortunes tracks. I heard you have a vinyl of every Shoche record on German import.
I heard that you have a white label of every seminal punk 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 chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your theremin and bought a güiro.
I hear that you and your band have sold your güiro and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dual Sessions,
The Gap Band,
New Order,
Piero Umiliani,
Freddie Wadling,
Schoolly D,
Dave Gahan,
Peter and Kerry,
Accadde A,
Franke,
Fluxion,
the Slits,
The Smoke,
Eurythmics,
Scientists,
The Star Department,
Electric Prunes,
The Move,
Junior Murvin,
The United States of America,
Pierre Henry,
Tears for Fears,
Trumans Water,
Magma,
Fort Wilson Riot,
Arab on Radar,
Malaria!,
Little Man,
The Alarm Clocks,
Amon Düül,
Byron Stingily,
Roy Ayers,
Mandrill,
Deakin,
Section 25,
The Jesus and Mary Chain,
Todd Terry,
Rites of Spring,
Subhumans,
Marmalade,
Vladislav Delay,
Yusef Lateef,
Goldenarms,
The Fortunes,
Delon & Dalcan,
Cal Tjader,
Bobby Womack,
Masters at Work,
Faust,
Marine Girls,
Davy DMX,
The New Christs,
Strawberry Alarm Clock,
the Swans,
Beasts of Bourbon,
Joyce Sims,
Alphaville,
Lower 48,
Make Up,
Suburban Knight,
Henry Cow, Henry Cow, Henry Cow, Henry Cow.
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.