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 Bahamas and from Beijing.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Spokane and Milan.
I'm losing my edge to the art-school Winnipeg 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 1973 at the first Television practice in a loft in New York.
I was working on the rhodes sounds with much patience.
I was there when David Bowie 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 Lungfish to the disco kids.
I played it at the Astoria.
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 Rekid. All the underground hits.
All Tommy Roe tracks. I heard you have a vinyl of every Deakin record on German import.
I heard that you have a white label of every seminal funk 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 harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Offenders,
David Axelrod,
Big Daddy Kane,
Roy Ayers,
Todd Terry,
Robert Hood,
Soul II Soul,
Little Man,
DJ Sneak,
Country Teasers,
Y Pants,
Morten Harket,
Colin Newman,
Nirvana,
Howard Jones,
The Remains,
Yazoo,
The Doobie Brothers,
Brick,
Visage,
Intrusion,
The Martian,
Black Flag,
The Wake,
Major Organ And The Adding Machine,
Wire,
Slave,
Röyhkä ja Rättö ja Lehtisalo,
Kerri Chandler,
The Raincoats,
Quadrant,
Monks,
Rites of Spring,
Buzzcocks,
Thinking Fellers Union Local 282,
Ten City,
Avey Tare & Kría Brekkan,
Eric Dolphy,
A Flock of Seagulls,
Avey Tare's Slasher Flicks,
Eric Copeland,
Bill Near,
Magazine,
Marcia Griffiths,
Harpers Bizarre,
The Count Five,
Jimmy McGriff,
Suicide,
Girls At Our Best!,
Kings Of Tomorrow,
Motorama,
Jeff Lynne,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Lakeside,
Bob Dylan,
New York Dolls,
Ronan,
Bad Manners,
Anakelly,
Orchestral Manoeuvres in the Dark,
Crash Course in Science,
Donald Byrd,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.