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 China and from Mexico City.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1968 to 1977.
I'm losing my edge.
To all the kids in Winnipeg and Seoul.
I'm losing my edge to the art-school Woodstock 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 harpsichord 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 Nick Fraelich to the rock kids.
I played it at the Roxy.
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 Black Pus. All the underground hits.
All Easy Going tracks. I heard you have a vinyl of every Popol Vuh record on German import.
I heard that you have a white label of every seminal electroclash 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 theremin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Divine Comedy record.
I hear that you and your band have sold your organ and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul II Soul,
Laurel Aitken,
Mo-Dettes,
London Community Gospel Choir,
Altered Images,
Public Image Ltd.,
Robert Hood,
Fear,
Bobby Sherman,
Alton Ellis,
Brothers Johnson,
Darondo,
Gerry Rafferty,
Main Source,
Shuggie Otis,
MDC,
Bizarre Inc.,
Easy Going,
Roxy Music,
Charles Mingus,
Graham Central Station,
Byron Stingily,
Slave,
Tears for Fears,
La Düsseldorf,
ABBA,
The American Breed,
The Fuzztones,
Japan,
New York Dolls,
Bobby Hutcherson,
The Leaves,
Stereo Dub,
Sun Ra Arkestra,
Qualms,
Tropical Tobacco,
Derrick May,
The Associates,
Rekid,
Desert Stars,
Procol Harum,
World's Most,
Dawn Penn,
Soft Machine,
Gregory Isaacs,
Soft Cell,
Gastr Del Sol,
The Black Dice,
Eric B and Rakim,
Marshall Jefferson,
The Mojo Men,
Nas,
Visage,
Crime,
Man Parrish,
Mark Hollis,
Spandau Ballet,
The Monks,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Roy Ayers Ubiquity,
Brass Construction,
Marine Girls, Marine Girls, Marine Girls, Marine Girls.
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.