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 Singapore and from Houston.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Bremen and Copenhagen.
I'm losing my edge to the art-school Shanghai 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 marimba 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 Sunsets and Hearts to the dance 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 The Busters. All the underground hits.
All Lungfish tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark 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 '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a June of 44 record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Flock of Seagulls,
Liliput,
The Human League,
Dark Day,
Röyhkä ja Rättö ja Lehtisalo,
Saccharine Trust,
Vaughan Mason & Crew,
Connie Case,
Essential Logic,
Nick Cave & The Bad Seeds,
Kango’s Stein Massive,
Lebanon Hanover,
Depeche Mode,
MC5,
Hardrive,
Electric Light Orchestra,
The Barracudas,
Sound Behaviour,
Siouxsie and the Banshees,
Danielle Patucci,
Lee Hazlewood,
Tubeway Army,
Graham Central Station,
Lalo Schifrin,
Notorious Big And Bone Thugs,
The Slits,
Jimmy McGriff,
The Fall,
Ronnie Foster,
Los Fastidios,
Marvin Gaye,
Funky Four + One,
Juan Atkins,
The Five Americans,
Audionom,
Gang Green,
U.S. Maple,
Eurythmics,
Model 500,
It's A Beautiful Day,
Average White Band,
Lucky Dragons,
Man Eating Sloth,
Harry Pussy,
Make Up,
Deadbeat,
Supertramp,
Fela Kuti,
Frankie Knuckles,
X-102,
Dead Boys,
The West Coast Pop Art Experimental Band,
F. McDonald,
the Swans,
LL Cool J,
Super Lover Cee & Casanova Rud,
New York Dolls,
The Smoke,
The Trojans,
Jerry's Kids,
Marine Girls,
Metal Thangz, Metal Thangz, Metal Thangz, Metal Thangz.
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.