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 Peru and from Salvador.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1967 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Delhi.
I'm losing my edge to the art-school Stockholm 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 Tom Verlaine 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 a-ha to the electroclash 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 Andrew Hill. All the underground hits.
All Todd Rundgren tracks. I heard you have a vinyl of every Q65 record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Absolute Body Control record.
I hear that you and your band have sold your spring reverb and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Infiniti,
Jeff Lynne,
Outsiders,
James Chance & The Contortions,
John Cale,
The Pretty Things,
Model 500,
Maurizio,
Jeff Mills,
AZ,
Organ,
Oneida,
Pere Ubu,
Scratch Acid,
Dorothy Ashby,
Lizzy Mercier Descloux,
Sam Rivers,
Eric B and Rakim,
World's Most,
Japan,
Althea and Donna,
LL Cool J,
Ponytail,
The Slits,
10cc,
Delta 5,
Crooked Eye,
Stereo Dub,
Lucky Dragons,
Letta Mbulu,
The Fall,
Janne Schatter,
Robert Hood,
Matthew Bourne,
Hasil Adkins,
The Gories,
The Detroit Cobras,
Amon Düül II,
The Litter,
The Men They Couldn't Hang,
Chris & Cosey,
The Remains,
John Lydon,
Faust,
Yellowson,
Joensuu 1685,
The Residents,
Kevin Saunderson,
a-ha,
Ajijia Myrayebe,
The Doobie Brothers,
The Red Krayola,
Strawberry Alarm Clock,
Drexciya,
Moby Grape,
Bobby Byrd,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.