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 Guinea and from Manila.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Salvador and Toronto.
I'm losing my edge to the art-school Woodstock 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 snare sounds with much patience.
I was there when Robert Palmer 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 Basic Channel to the disco 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 Grandmaster Flash. All the underground hits.
All Half Japanese tracks. I heard you have a vinyl of every The Detroit Cobras 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 '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Pantaleimon 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?
Tears for Fears,
Vainqueur,
Fad Gadget,
Peter and Kerry,
Kenny Larkin,
Barrington Levy,
LL Cool J,
Minny Pops,
Pagans,
Minnie Riperton,
the Bar-Kays,
Dark Day,
Suburban Knight,
Echo & the Bunnymen,
Technova,
Zapp,
Roxette,
Dorothy Ashby,
8 Eyed Spy,
Ornette Coleman,
Bobbi Humphrey,
The Associates,
Chris Corsano,
Country Teasers,
Black Pus,
The Dirtbombs,
The Raincoats,
Visionaries,LMNO, T- Love & Iriscience,
Organ,
Fifty Foot Hose,
Public Image Ltd.,
Curtis Mayfield,
Juan Atkins,
Vladislav Delay,
Scott Walker,
Skarface,
Gang Green,
The Standells,
Little Man,
Fat Boys,
Freddie Wadling,
Ten City,
Donald Byrd,
The Fortunes,
Cabaret Voltaire,
Loose Ends,
Major Organ And The Adding Machine,
The American Breed,
Popol Vuh,
FM Einheit,
Marshall Jefferson,
Soul II Soul,
The Gun Club,
Television,
Skaos,
Dr. Dre and Snoop Doggy Dog,
Grandmaster Flash and the Furious Five,
Eli Mardock,
Eric B and Rakim,
Terrestrial Tones,
Bobby Sherman,
Intrusion,
Neil Young,
Al Stewart,
Funky Four + One, Funky Four + One, Funky Four + One, Funky Four + One.
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.