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 Uzbekistan and from Lille.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1975.
I'm losing my edge.
To all the kids in Lyon and Accra.
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 clarinet 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 Quando Quango to the punk 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 Max Romeo. All the underground hits.
All Average White Band tracks. I heard you have a vinyl of every The Shadows of Knight record on German import.
I heard that you have a white label of every seminal grime 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 linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Dark Day record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hoover,
The Real Kids,
Maleditus Sound,
Ornette Coleman,
John Lydon,
Chris Corsano,
Sonny Sharrock,
Sugar Minott,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Trumans Water,
Louis and Bebe Barron,
Deepchord,
New York Dolls,
Funky Four + One,
The Neon Judgement,
the Slits,
The Mummies,
Cameo,
Talk Talk,
The Angels of Light,
Charles Mingus,
The Music Machine,
Patti Smith,
Althea and Donna,
Livin' Joy,
L. Decosne,
Joe Finger,
Model 500,
The Fall,
Ronan,
Massinfluence,
Davy DMX,
Scott Walker + Sunn O))),
Crispian St. Peters,
John Holt,
Skaos,
Dorothy Ashby,
Average White Band,
The Happenings,
Heaven 17,
Marine Girls,
Piero Umiliani,
Soft Machine,
Marc Almond,
a-ha,
Accadde A,
Scott Walker,
Index,
Kevin Saunderson,
the Human League,
The Detroit Cobras,
The Jesus and Mary Chain,
Major Organ And The Adding Machine,
The Velvet Underground,
Boredoms,
Peter and Kerry,
The Gap Band,
Peter & Gordon,
Ronnie Foster,
The Leaves,
K-Klass,
Bobbi Humphrey,
Angry Samoans, Angry Samoans, Angry Samoans, Angry Samoans.
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.