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 Germany and from New York.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Seoul and Bologna.
I'm losing my edge to the art-school Glasgow 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 güiro 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 Donny Hathaway to the jazz kids.
I played it at CBGB's.
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 Public Image Ltd.. All the underground hits.
All Quando Quango tracks. I heard you have a vinyl of every The Smiths 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 '80s cut and another box set from the '80s.
I hear you're buying a rhodes and a marimba 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 oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bad Manners,
8 Eyed Spy,
Nico,
The Moody Blues,
Boogie Down Productions,
Danielle Patucci,
Faust,
New Age Steppers,
Symarip,
Mantronix,
The Grass Roots,
Nick Fraelich,
Flipper,
London Community Gospel Choir,
Judy Mowatt,
Brand Nubian,
The Doors,
Au Pairs,
Lungfish,
Maleditus Sound,
The Moleskins,
Kool G Rap & DJ Polo,
Graham Central Station,
Minor Threat,
Girls At Our Best!,
Vladislav Delay,
Soul Sonic Force,
Electric Prunes,
Jimmy McGriff,
Captain Beefheart & His Magic Band,
Maurizio,
Jeru the Damaja,
Flash Fearless,
Brass Construction,
The Vogues,
The Smiths,
Liaisons Dangereuses,
Joe Smooth,
U.S. Maple,
Matthew Bourne,
Supertramp,
Skaos,
Eden Ahbez,
Mars,
Bootsy Collins,
Alphaville,
Minny Pops,
the Bar-Kays,
Country Teasers,
Saccharine Trust,
Pharaoh Sanders and the Fire Engines,
Von Mondo,
Tres Demented,
Technova,
Tears for Fears,
Tropical Tobacco,
Glambeats Corp.,
The Sonics,
Oppenheimer Analysis,
The Cowsills,
The Star Department,
Young Marble Giants,
Radiopuhelimet,
Kango’s Stein Massive,
Jawbox, Jawbox, Jawbox, Jawbox.
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.