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 Australia and from Edmonton.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1976.
I'm losing my edge.
To all the kids in Milan and Halifax.
I'm losing my edge to the art-school Delhi 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 oboe 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 Monks to the dance kids.
I played it at the Roxy.
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 Lou Reed. All the underground hits.
All Jeru the Damaja tracks. I heard you have a vinyl of every CMW record on German import.
I heard that you have a white label of every seminal crunk 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 an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Lindisfarne record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doors,
Crime,
Saccharine Trust,
Rod Modell,
Yellowson,
Masters at Work,
Louis and Bebe Barron,
Aswad,
Harmonia,
ABC,
Althea and Donna,
DJ Sneak,
The United States of America,
Donny Hathaway,
Ronan,
Kerrie Biddell,
Chris Corsano,
June of 44,
Gil Scott-Heron & Brian Jackson,
Adolescents,
Ultimate Spinach,
John Coltrane,
Cabaret Voltaire,
The Cramps,
Isaac Hayes,
David Bowie,
Drive Like Jehu,
Jeru the Damaja,
Iggy Pop,
Electric Prunes,
Nils Olav,
Gil Scott-Heron and Jamie xx,
Amon Düül II,
Yazoo,
Y Pants,
Visionaries,LMNO, T- Love & Iriscience,
De La Soul & Jungle Brothers,
Deepchord,
the Soft Cell,
The Raincoats,
These Immortal Souls,
X-101,
Hoover,
Motorama,
Charles Mingus,
James Chance & The Contortions,
KRS-One,
Henry Cow,
Susan Cadogan,
The Red Krayola,
The Royal Family And The Poor,
Marc Almond,
Camberwell Now,
Art Ensemble Of Chicago,
Magma,
The Misunderstood,
Pierre Henry,
Jacob Miller,
Eric Copeland,
The Tremeloes,
Blake Baxter, Blake Baxter, Blake Baxter, Blake Baxter.
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.