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 Rwanda and from Johannesburg.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Spokane and Lyon.
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 1978 at the first Visage practice in a loft in London.
I was working on the snare 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 Lee Hazlewood to the electroclash 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 B.T. Express. All the underground hits.
All Sparks tracks. I heard you have a vinyl of every UT 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 theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Gary Puckett & The Union Gap record.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Bush Tetras,
Curtis Mayfield,
Charles Mingus,
James Chance & The Contortions,
Excepter,
Skarface,
Fad Gadget,
Moby Grape,
U.S. Maple,
Arthur Verocai,
John Coltrane,
Selector Dub Narcotic,
Cal Tjader,
Gerry Rafferty,
Girls At Our Best!,
Kool Moe Dee,
Roy Ayers Ubiquity,
Magazine,
The Pop Group,
Jeff Lynne,
Unrelated Segments,
Procol Harum,
Röyhkä ja Rättö ja Lehtisalo,
Khruangbin,
D'Angelo,
Echospace,
Minny Pops,
The Associates,
Leonard Cohen,
The Alarm Clocks,
The Leaves,
Kango’s Stein Massive,
The Selecter,
Albert Ayler,
Black Pus,
Notorious BIG live in Amsterdam,
The Gories,
The Raincoats,
Angels of Light & Akron/Family,
Severed Heads,
Traffic Nightmare,
Silicon Teens,
Godley & Creme,
Guru Guru,
Rufus Thomas,
New Age Steppers,
Roxette,
Alice Coltrane,
Pere Ubu,
Prince Buster,
Infiniti,
Rhythim Is Rhythim,
Country Teasers,
Joe Smooth,
Marine Girls,
Lonnie Liston Smith,
Cybotron,
Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes, Larry & the Blue Notes.
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.