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 Bhutan and from Tehran.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Cairo and Halifax.
I'm losing my edge to the art-school Spokane 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 güiro 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 Harpers Bizarre to the grime kids.
I played it at the Troubador.
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 Icehouse. All the underground hits.
All Yazoo tracks. I heard you have a vinyl of every Roy Ayers 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 '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Curtis Mayfield record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Oneida,
Cabaret Voltaire,
Simply Red,
Symarip,
Dorothy Ashby,
Jeru the Damaja,
Michelle Simonal,
Easy Going,
Magma,
Trumans Water,
Mary Jane Girls,
Barclay James Harvest,
Grey Daturas,
Art Ensemble Of Chicago,
Maleditus Sound,
JFA,
Jeff Lynne,
Marcia Griffiths,
The American Breed,
Wally Richardson,
Dave Gahan,
Ludus,
Matthew Bourne,
Patti Smith,
Qualms,
Rahsaan Roland Kirk,
Moss Icon,
Ash Ra Tempel,
Kayak,
Anakelly,
The Young Rascals,
Todd Rundgren,
Fluxion,
Toni Rubio,
Radio Birdman,
Crooked Eye,
In Retrospect,
Theoretical Girls,
Ronnie Foster,
Joensuu 1685,
X-102,
Cluster,
Das Ding,
Larry & the Blue Notes,
Groovy Waters,
Harpers Bizarre,
Dark Day,
Neu!,
Con Funk Shun,
Echo & the Bunnymen,
Jawbox,
David McCallum,
Rosa Yemen,
The Happenings,
The Red Krayola,
Youth Brigade,
Radiopuhelimet,
Bang On A Can,
Pierre Henry,
The Litter,
Dawn Penn,
Brand Nubian, Brand Nubian, Brand Nubian, Brand Nubian.
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.