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 Switzerland and from Calgary.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1968 to 1977.
I'm losing my edge.
To all the kids in Salvador and Winnipeg.
I'm losing my edge to the art-school Stockholm 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 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 The Move to the grunge kids.
I played it at the Roxy.
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 Soft Cell. All the underground hits.
All Easy Going tracks. I heard you have a vinyl of every Glenn Branca record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Starr,
Rhythim Is Rhythim,
Camberwell Now,
Ludus,
Joy Division,
Crash Course in Science,
DNA,
Black Sheep,
Sparks,
R.M.O.,
The Chocolate Watch Band,
De La Soul & Jungle Brothers,
The Alarm Clocks,
Sly & The Family Stone,
Sexual Harrassment,
One Last Wish,
Blake Baxter,
Vaughan Mason & Crew,
Aswad,
Eric Copeland,
Sällskapet,
Robert Hood,
Strawberry Alarm Clock,
Easy Going,
Jeru the Damaja,
Selector Dub Narcotic,
Avey Tare's Slasher Flicks,
Cluster,
Glambeats Corp.,
Bronski Beat,
Lower 48,
Urselle,
Gong,
Quantec,
Camouflage,
Bang on a Can All-Stars,
Brothers Johnson,
Supertramp,
La Düsseldorf,
Reagan Youth,
The Fortunes,
New Order,
The Modern Lovers,
Brass Construction,
The Monks,
Kango’s Stein Massive,
Cabaret Voltaire,
The Barracudas,
ABBA,
Avey Tare,
Dorothy Ashby,
Gil Scott-Heron & Brian Jackson,
Country Teasers,
U.S. Maple,
Lalann,
K-Klass,
Lakeside,
Scion,
The Mummies,
Howard Jones,
Drive Like Jehu,
Anthony Braxton,
Deutsch Amerikanische Freundschaft,
Don Cherry, Don Cherry, Don Cherry, Don Cherry.
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.