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 Korea North and from Tehran.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1962 to 1974.
I'm losing my edge.
To all the kids in Taipei and Manila.
I'm losing my edge to the art-school Manchester 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 snare sounds with much patience.
I was there when Robert Palmer 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 Scott Walker to the rap kids.
I played it at the Spitz.
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 The Selecter. All the underground hits.
All The Kinks tracks. I heard you have a vinyl of every Jacob Miller record on German import.
I heard that you have a white label of every seminal disco 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 güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Jesper Dahlbäck record.
I hear that you and your band have sold your sitar and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy's Rubber Band,
Wally Richardson,
Alphaville,
Siouxsie and the Banshees,
Vaughan Mason & Crew,
Desert Stars,
Drive Like Jehu,
Nico,
Spandau Ballet,
Bill Wells,
Bronski Beat,
Rotary Connection,
Don Cherry,
James White and The Blacks,
Jawbox,
Ken Boothe,
Youth Brigade,
Gang Gang Dance,
Sight & Sound,
Red Lorry Yellow Lorry,
Eric Dolphy,
Lebanon Hanover,
Wire,
Tropical Tobacco,
Japan,
The Knickerbockers,
Matthew Halsall,
Patti Smith,
Chris Corsano,
Marvin Gaye,
The Flesh Eaters,
Quantec,
Radiopuhelimet,
Average White Band,
The West Coast Pop Art Experimental Band,
Ultra Naté,
Connie Case,
Interpol,
Cameo,
Massinfluence,
Soul II Soul,
Radiohead,
Aloha Tigers,
Lou Christie,
Boogie Down Productions,
Amon Düül II,
Gil Scott-Heron & Brian Jackson,
Pulsallama,
Parry Music,
Piero Umiliani,
Crispy Ambulance,
Jacques Brel,
Jacob Miller,
Gregory Isaacs,
The Real Kids,
Marshall Jefferson,
The Electric Prunes,
Terrestrial Tones,
DJ Style,
London Community Gospel Choir,
The Moody Blues,
Cabaret Voltaire,
Bob Dylan,
Rufus Thomas,
The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang, The Men They Couldn't Hang.
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.