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 Afghanistan and from Copenhagen.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1973.
I'm losing my edge.
To all the kids in Mumbai and Manchester.
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 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 Patti Smith to the crunk kids.
I played it at the Hacienda.
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 Leonard Cohen. All the underground hits.
All Major Organ And The Adding Machine tracks. I heard you have a vinyl of every Howard Jones 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 '90s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a K-Klass record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Remains,
Grandmaster Flash and the Furious Five,
Motorama,
Electric Prunes,
Tears for Fears,
This Heat,
Marmalade,
Fear,
Lebanon Hanover,
Stiv Bators,
Scratch Acid,
Blancmange,
Underground Resistance,
Reagan Youth,
Leonard Cohen,
Al Stewart,
DNA,
John Lydon,
Gabor Szabo,
Rowland S Howard / Lydia Lunch,
Lucky Dragons,
Cecil Taylor,
Rod Modell,
Steve Hackett,
L. Decosne,
Neil Young & Crazy Horse,
Curtis Mayfield,
Zero Boys,
Echo & the Bunnymen,
Cybotron,
8 Eyed Spy,
Alison Limerick,
Alice Coltrane,
Public Image Ltd.,
Gang Starr,
Idris Muhammad,
Harmonia,
Aural Exciters,
Skaos,
Altered Images,
Jeff Lynne,
UT,
Magma,
Supertramp,
Deepchord,
Dorothy Ashby,
Sam Rivers,
Jerry Gold Smith,
Gil Scott-Heron & Brian Jackson,
Das Ding,
N.O.R.E. Featuring Pharrell,
Maleditus Sound,
Barrington Levy,
The Birthday Party,
Agent Orange,
Average White Band,
Vladislav Delay,
Youth Brigade,
Howard Jones,
Dead Boys,
Eurythmics,
Boogie Down Productions, Boogie Down Productions, Boogie Down Productions, Boogie Down Productions.
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.