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 South Africa and from Mexico City.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Lille and New York.
I'm losing my edge to the art-school Johannesburg 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 chamberlin 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 Ronan to the rock kids.
I played it at the Troubador.
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 June of 44. All the underground hits.
All Jawbox tracks. I heard you have a vinyl of every Ajijia Myrayebe record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a the Association 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?
Audionom,
Barclay James Harvest,
Marshall Jefferson,
Vaughan Mason & Crew,
Newcleus,
Heaven 17,
Morten Harket,
E-Dancer,
R.M.O.,
Tommy Roe,
Justin Hinds & The Dominoes,
Faraquet,
Barry Ungar,
Sam Rivers,
MC5,
Steve Hackett,
Brass Construction,
Bill Near,
Thee Headcoats,
Gregory Isaacs,
Susan Cadogan,
The Shadows of Knight,
Pere Ubu,
The Fortunes,
Lalo Schifrin,
Nick Fraelich,
Aloha Tigers,
Cybotron,
Terrestrial Tones,
Ken Boothe,
Clear Light,
Pharaoh Sanders and the Fire Engines,
The Gun Club,
Alice Coltrane,
Alison Limerick,
Au Pairs,
Wings,
Barrington Levy,
Röyhkä ja Rättö ja Lehtisalo,
The Gladiators,
Bang On A Can,
ABC,
The Selecter,
Skaos,
Thompson Twins,
The Names,
H. Thieme,
Ultramagnetic MC's,
Gil Scott-Heron & Brian Jackson,
Major Organ And The Adding Machine,
Ultravox,
Orchestral Manoeuvres in the Dark,
Charles Mingus,
Deepchord,
Joe Smooth,
Grauzone,
L. Decosne,
Organ,
Loose Ends,
The Zeros,
Wally Richardson,
The Doobie Brothers,
Underground Resistance, Underground Resistance, Underground Resistance, Underground Resistance.
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.