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 Philadelphia.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Mexico City and London.
I'm losing my edge to the art-school Manchester 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 mellotron 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 Iggy Pop to the jazz kids.
I played it at Trash.
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 Arcadia. All the underground hits.
All The Cosmic Jokers tracks. I heard you have a vinyl of every Unrelated Segments record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
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 Minor Threat record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hashim,
Black Moon,
Orchestral Manoeuvres in the Dark,
Rosa Yemen,
Brand Nubian,
Fluxion,
The American Breed,
The Red Krayola,
UT,
Bobby Byrd,
Bronski Beat,
Stiv Bators,
The Saints,
the Germs,
Roy Ayers,
Technova,
Panda Bear,
Inner City,
Swell Maps,
Todd Rundgren,
Arcadia,
Alphaville,
Rod Modell,
Peter Gordon & Love of Life Orchestra,
Minor Threat,
the Human League,
Malaria!,
Bauhaus,
Terror Squad Feat. Camron,
Wally Richardson,
The Monochrome Set,
Spandau Ballet,
Bizarre Inc.,
Gary Puckett & The Union Gap,
Suicide,
Boz Scaggs,
Moebius,
New York Dolls,
Chris & Cosey,
Deutsch Amerikanische Freundschaft,
Rowland S Howard / Lydia Lunch,
Sällskapet,
The Skatalites,
Frankie Knuckles,
Drive Like Jehu,
The Fugs,
Arthur Verocai,
Crash Course in Science,
Derrick Morgan,
Tom Boy,
Neil Young & Crazy Horse,
Bootsy's Rubber Band,
The Sisters of Mercy,
Clear Light,
Scientists,
Average White Band,
Jeru the Damaja,
Colin Newman,
A Flock of Seagulls,
Eric Copeland,
Tim Buckley,
The Associates,
the Fania All-Stars, the Fania All-Stars, the Fania All-Stars, the Fania All-Stars.
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.