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 Uganda and from Tokyo.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Copenhagen and Delhi.
I'm losing my edge to the art-school Sao Paulo 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 rhodes 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 X-101 to the jazz kids.
I played it at the 40 Watt.
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 Arcadia. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Eli Mardock record on German import.
I heard that you have a white label of every seminal grunge 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 clarinet and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Neon Judgement record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mummies,
Depeche Mode,
Rapeman,
Neil Young,
H. Thieme,
Bill Wells,
The Smiths,
Mandrill,
Donny Hathaway,
Man Eating Sloth,
Hasil Adkins,
Jerry Gold Smith,
Sam Rivers,
Bronski Beat,
Fifty Foot Hose,
Peter and Kerry,
Hardrive,
Pet Shop Boys,
Bang on a Can All-Stars,
Aural Exciters,
Spoonie Gee,
The Cosmic Jokers,
Sunsets and Hearts,
The Cure,
Bobby Hutcherson,
Bobbi Humphrey,
AZ,
Todd Rundgren,
Ultimate Spinach,
Talk Talk,
Chris & Cosey,
Soul Sonic Force,
Jacob Miller,
Brick,
The Music Machine,
Sugar Minott,
Barbara Tucker,
The Doobie Brothers,
London Community Gospel Choir,
Brass Construction,
K-Klass,
The Remains,
Terry Callier,
Pulsallama,
Kerrie Biddell,
Yaz,
Aaron Thompson,
Black Bananas,
Bootsy's Rubber Band,
Albert Ayler,
Roxy Music,
Excepter,
Ajijia Myrayebe,
Kevin Saunderson,
Ohio Players,
The Gun Club,
Drive Like Jehu,
Boz Scaggs,
the Human League,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.