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 Togo and from Salvador.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Lyon and Lagos.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the 808 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 Notorious Big And Bone Thugs to the rock kids.
I played it at the Astoria.
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 Technova. All the underground hits.
All The Tremeloes tracks. I heard you have a vinyl of every Spoonie Gee record on German import.
I heard that you have a white label of every seminal funk 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 spring reverb and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Liliput,
Marc Romboy vs. Booka Shade,
Ludus,
Red Lorry Yellow Lorry,
Ultravox,
The Raincoats,
Motorama,
Wolf Eyes,
Fugazi,
The West Coast Pop Art Experimental Band,
Metal Thangz,
Eurythmics,
Rowland S Howard / Lydia Lunch,
Porter Ricks,
Suburban Knight,
Thee Headcoats,
Ultra Naté,
Lafayette Afro Rock Band,
Urselle,
Marmalade,
The Busters,
The Fire Engines,
Jeff Mills,
Moby Grape,
The Fuzztones,
Harmonia,
The Doobie Brothers,
Essential Logic,
Tomorrow,
Pussy Galore,
Notorious Big And Bone Thugs,
Eric Copeland,
Slave,
Black Moon,
Arcadia,
Scion,
Marc Almond,
Kaleidoscope,
Alphaville,
The Vogues,
Sarah Menescal,
The Martian,
F. McDonald,
Jesper Dahlbäck,
Crime,
Talk Talk,
Tim Buckley,
the Bar-Kays,
Rhythim Is Rhythim,
Ronnie Foster,
Dual Sessions,
Von Mondo,
The Five Americans,
Major Organ And The Adding Machine,
Robert Hood,
Morten Harket,
Jerry Gold Smith,
Supertramp,
The American Breed,
Skriet,
Anthony Braxton, Anthony Braxton, Anthony Braxton, Anthony Braxton.
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.