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 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 1963 to 1970.
I'm losing my edge.
To all the kids in Milan and Columbus.
I'm losing my edge to the art-school Sao Paulo 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 linndrum sounds with much patience.
I was there when David Bowie 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 Gil Scott-Heron and Jamie xx to the grime 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 Supertramp 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 funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Offenders record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
L. Decosne,
Yazoo,
Amon Düül,
The Buckinghams,
Strawberry Alarm Clock,
Masters at Work,
KRS-One,
Skriet,
Todd Rundgren,
CMW,
Godley & Creme,
Loose Ends,
Don Cherry,
The Real Kids,
Mo-Dettes,
Symarip,
The Smiths,
The Neon Judgement,
Metal Thangz,
Altered Images,
Sister Nancy,
Kerri Chandler,
Shoche,
Maurizio,
One Last Wish,
Röyhkä ja Rättö ja Lehtisalo,
The Men They Couldn't Hang,
The Wake,
Alice Coltrane,
Ohio Players,
Thee Headcoats,
Peter Gordon & Love of Life Orchestra,
Los Fastidios,
Thompson Twins,
Al Stewart,
The Shadows of Knight,
Electric Prunes,
Kaleidoscope,
Public Enemy,
The Star Department,
ABC,
The Toasters,
Roxette,
June of 44,
Lucky Dragons,
Judy Mowatt,
Althea and Donna,
Mark Hollis,
Teenage Jesus and the Jerks,
the Germs,
Aloha Tigers,
De La Soul & Jungle Brothers,
Cybotron,
Cheater Slicks,
Camron Feat. Memphis Bleek And Beenie Seigel,
Stiv Bators,
Dennis Brown,
Wighnomy Brothers & Robag Wruhme,
Minny Pops,
The Associates,
Ludus,
Joensuu 1685,
Liliput, Liliput, Liliput, Liliput.
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.