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 Senegal and from Glasgow.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Paris and Philadelphia.
I'm losing my edge to the art-school Hong Kong 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the marimba 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 The Selecter to the grime kids.
I played it at the Hacienda.
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 Essential Logic. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every EPMD record on German import.
I heard that you have a white label of every seminal punk 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 rhodes and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
Flipper,
Black Flag,
The West Coast Pop Art Experimental Band,
Pagans,
Kerri Chandler,
The Blackbyrds,
The Tremeloes,
Supertramp,
Accadde A,
The Pretty Things,
Marc Romboy vs. Booka Shade,
Man Parrish,
Byron Stingily,
The Fire Engines,
The Alarm Clocks,
The Fuzztones,
Rufus Thomas,
X-Ray Spex,
Rahsaan Roland Kirk,
Bootsy's Rubber Band,
Make Up,
Kango’s Stein Massive,
The Kinks,
Selector Dub Narcotic,
The Detroit Cobras,
Roy Ayers Ubiquity,
The Invisible,
New York Dolls,
The Martian,
Rekid,
Alice Coltrane,
Animal Collective,
Darondo,
The Cowsills,
Bad Manners,
Marmalade,
Ten City,
Eric Copeland,
Massinfluence,
Joyce Sims,
The Peanut Butter Conspiracy,
Justin Hinds & The Dominoes,
Whodini,
cv313,
Ash Ra Tempel,
Television Personalities,
Drive Like Jehu,
Lyres,
Alison Limerick,
Talk Talk,
Swell Maps,
The Royal Family And The Poor,
Electric Light Orchestra,
Amon Düül,
Aural Exciters,
The Sisters of Mercy,
Marvin Gaye,
The Mummies,
Graham Central Station,
Banda Bassotti,
Bob Dylan,
The Sound, The Sound, The Sound, The Sound.
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.