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 Jamaica and from Columbus.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 Bologna and Columbus.
I'm losing my edge to the art-school New York 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the chamberlin 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 Peter and Kerry to the techno 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 Evens. All the underground hits.
All Darondo tracks. I heard you have a vinyl of every Moss Icon 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
La Düsseldorf,
Darondo,
Cameo,
Zero Boys,
Porter Ricks,
the Sonics,
Model 500,
Quantec,
Cymande,
Ossler,
Piero Umiliani,
Marc Almond,
Q and Not U,
Mr. Review,
The Black Dice,
The Invisible,
Wasted Youth,
The Gap Band,
Toni Rubio,
Frankie Knuckles,
John Holt,
The Gun Club,
Young Marble Giants,
Röyhkä ja Rättö ja Lehtisalo,
Niagra,
Sly & The Family Stone,
The Golliwogs,
Stockholm Monsters,
the Soft Cell,
Bobby Womack,
DJ Style,
Minor Threat,
Lyres,
The Walker Brothers,
Black Moon,
The Detroit Cobras,
Slick Rick,
Morten Harket,
Dark Day,
Dual Sessions,
PIL,
Chris & Cosey,
The Durutti Column,
The Busters,
U.S. Maple,
The Selecter,
Crooked Eye,
Bootsy's Rubber Band,
Scrapy,
The Saints,
Arab on Radar,
Electric Light Orchestra,
Audionom,
Jeru the Damaja,
Sonic Youth,
Archie Shepp,
The Raincoats,
James Chance & The Contortions,
Camron Feat. Memphis Bleek And Beenie Seigel,
Gerry Rafferty,
The Grass Roots, The Grass Roots, The Grass Roots, The Grass Roots.
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.