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 Colombia and from Toronto.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1969 to 1975.
I'm losing my edge.
To all the kids in Calgary and Manchester.
I'm losing my edge to the art-school Philadelphia 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Ornette Coleman to the jazz 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 Skaos. All the underground hits.
All The Sisters of Mercy tracks. I heard you have a vinyl of every The Motions record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a JFA record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABBA,
Cal Tjader,
Angry Samoans,
Soulsonic Force,
Mary Jane Girls,
The Skatalites,
Lou Christie,
Kerrie Biddell,
The Associates,
Laurel Aitken,
Kings Of Tomorrow,
Symarip,
Massinfluence,
Sarah Menescal,
Camberwell Now,
Black Sheep,
the Germs,
Radiohead,
Thee Headcoats,
OOIOO,
Yaz,
Faust,
Essential Logic,
Minny Pops,
Gong,
Frankie Knuckles,
Livin' Joy,
The Standells,
Sixth Finger,
Soul Sonic Force,
The American Breed,
The Slits,
David Axelrod,
Black Moon,
the Slits,
The Techniques,
Ajijia Myrayebe,
Ossler,
Jandek,
The Neon Judgement,
Sonny Sharrock,
L. Decosne,
Electric Prunes,
Mad Mike,
Lalann,
Liliput,
Gichy Dan,
Bizarre Inc.,
the Human League,
Man Parrish,
Arab on Radar,
The Invisible,
Susan Cadogan,
Slave,
Zapp,
Eve St. Jones,
Lou Reed & Metallica,
Minutemen,
Echo & the Bunnymen,
X-101,
Lizzy Mercier Descloux,
Gang Gang Dance, Gang Gang Dance, Gang Gang Dance, Gang Gang Dance.
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.