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 Burkina and from Edmonton.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 Madrid and Glasgow.
I'm losing my edge to the art-school Tokyo 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 mellotron sounds with much patience.
I was there when Nile Rodgers 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 Zeros to the jazz 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 Orchestral Manoeuvres in the Dark. All the underground hits.
All Liaisons Dangereuses tracks. I heard you have a vinyl of every Rahsaan Roland Kirk 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 '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet 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?
Cybotron,
Bad Manners,
Avey Tare's Slasher Flicks,
Big Daddy Kane,
Michelle Simonal,
Derrick Morgan,
Gichy Dan,
Charles Mingus,
Roy Ayers,
Au Pairs,
UT,
The Doobie Brothers,
The Seeds,
Girls At Our Best!,
Visionaries,LMNO, T- Love & Iriscience,
Los Fastidios,
Sällskapet,
Cluster,
Index,
Minor Threat,
DJ Sneak,
U.S. Maple,
In Retrospect,
Kango’s Stein Massive,
The Electric Prunes,
Matthew Halsall,
Beasts of Bourbon,
Altered Images,
Deakin,
Faraquet,
Eric B and Rakim,
Electric Light Orchestra,
Mark Hollis,
Marcia Griffiths,
Peter & Gordon,
Grey Daturas,
The Dave Clark Five,
Fluxion,
Talk Talk,
Hoover,
Pharoah Sanders,
Richard Hell and the Voidoids,
Rod Modell,
Scion,
Clear Light,
Man Parrish,
Fugazi,
Duran Duran,
Jawbox,
Selector Dub Narcotic,
Nirvana,
Kerri Chandler,
Black Flag,
Kool Moe Dee,
Wolf Eyes,
The Stooges,
Crispian St. Peters,
Slave,
Cecil Taylor,
London Community Gospel Choir,
Cheater Slicks,
Average White Band,
The West Coast Pop Art Experimental Band,
Brass Construction, Brass Construction, Brass Construction, Brass Construction.
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.