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 Grenada and from Sao Paulo.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Lille.
I'm losing my edge to the art-school Bologna 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 1976 at the first Chic practice in a loft in New York.
I was working on the linndrum 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 Motorama to the grime kids.
I played it at the Hacienda.
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 B.T. Express. All the underground hits.
All Symarip tracks. I heard you have a vinyl of every Livin' Joy record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Slits record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arcadia,
New York Dolls,
Dennis Brown,
The Knickerbockers,
Scrapy,
Kings Of Tomorrow,
Crooked Eye,
Icehouse,
Scratch Acid,
The Fortunes,
Tears for Fears,
It's A Beautiful Day,
David McCallum,
Neil Young,
Jacob Miller,
Don Cherry,
Von Mondo,
Gian Franco Pienzio,
Michelle Simonal,
Laurel Aitken,
Sister Nancy,
Sly & The Family Stone,
Lalo Schifrin,
Drive Like Jehu,
Cabaret Voltaire,
Sonny Sharrock,
Kool G Rap & DJ Polo,
Organ,
The Detroit Cobras,
The Mighty Diamonds,
Banda Bassotti,
T.S.O.L.,
Gang of Four,
Bobby Womack,
Oblivians,
Young Marble Giants,
Crash Course in Science,
Grandmaster Flash and the Furious Five,
Brass Construction,
Swell Maps,
The Fugs,
Avey Tare & Kría Brekkan,
Howard Jones,
Theoretical Girls,
Con Funk Shun,
The Mummies,
Liaisons Dangereuses,
Electric Prunes,
Television,
Man Parrish,
Sonic Youth,
Massinfluence,
The Standells,
X-102,
Avey Tare,
Camberwell Now,
Steve Hackett,
Brothers Johnson,
Marine Girls, Marine Girls, Marine Girls, Marine Girls.
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.