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 Eritrea and from Delhi.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Mumbai and Portland.
I'm losing my edge to the art-school Spokane 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 The Mummies to the dance 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 Average White Band. All the underground hits.
All Lungfish tracks. I heard you have a vinyl of every Black Sheep record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terrestrial Tones,
LL Cool J,
Kool G Rap & DJ Polo,
One Last Wish,
Black Bananas,
The Zeros,
The Birthday Party,
Kango’s Stein Massive,
David McCallum,
Flash Fearless,
Byron Stingily,
Bronski Beat,
Boz Scaggs,
Little Man,
Soul II Soul,
Gong,
Niagra,
Ossler,
the Soft Cell,
Althea and Donna,
The Doors,
Hot Snakes,
Vainqueur,
Matthew Halsall,
Stereo Dub,
James White and The Blacks,
Rahsaan Roland Kirk,
Matthew Bourne,
Sam Rivers,
Neu!,
Japan,
Godley & Creme,
Chris Corsano,
Rosa Yemen,
Hardrive,
The Tremeloes,
Faraquet,
Parry Music,
Siouxsie and the Banshees,
Man Parrish,
June Days,
Barbara Tucker,
DNA,
Red Lorry Yellow Lorry,
Yellowson,
Whodini,
Royal Trux,
Swell Maps,
Angels of Light & Akron/Family,
Second Layer,
Mantronix,
Larry & the Blue Notes,
The Music Machine,
Ronan,
Kings Of Tomorrow,
Eli Mardock,
The Detroit Cobras,
Deadbeat,
The Litter,
Metal Thangz,
Angry Samoans,
The Blackbyrds,
Clear Light,
Bizarre Inc.,
The American Breed, The American Breed, The American Breed, The American Breed.
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.