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 El Salvador and from Toronto.
But I was there.
I was there in 1984.
I was there at the first Arcadia 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 1964 to 1976.
I'm losing my edge.
To all the kids in Bologna and Taipei.
I'm losing my edge to the art-school Toronto 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 harpsichord sounds with much patience.
I was there when Lou Reed 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 Walker Brothers to the crunk kids.
I played it at the Spitz.
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 Cecil Taylor. All the underground hits.
All Icehouse tracks. I heard you have a vinyl of every The Birthday Party record on German import.
I heard that you have a white label of every seminal dance 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 theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Gil Scott-Heron and Jamie xx record.
I hear that you and your band have sold your spring reverb and bought a snare.
I hear that you and your band have sold your snare and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Kerrie Biddell,
The Shadows of Knight,
Super Lover Cee & Casanova Rud,
Buzzcocks,
the Soft Cell,
The Flesh Eaters,
The Golliwogs,
Gabor Szabo,
48th St. Collective,
Black Moon,
Parry Music,
Jerry's Kids,
The Blackbyrds,
Manfred Mann's Earth Band,
Jerry Gold Smith,
Rotary Connection,
Easy Going,
The Slackers,
Man Parrish,
Jeff Mills,
Eric Dolphy,
Saccharine Trust,
Slick Rick,
Dawn Penn,
Yazoo,
Skarface,
Black Bananas,
Siglo XX,
Excepter,
Oneida,
Anthony Braxton,
Mars,
Oppenheimer Analysis,
Drexciya,
Nils Olav,
Curtis Mayfield,
The Gap Band,
Selector Dub Narcotic,
Japan,
Camouflage,
The Five Americans,
Black Flag,
The Saints,
Delta 5,
Isaac Hayes,
Technova,
The Music Machine,
Bill Wells,
The Moody Blues,
Make Up,
Grauzone,
Joe Finger,
The Wake,
Television,
Delon & Dalcan,
Joey Negro,
Rufus Thomas,
John Holt,
Heavy D & The Boyz,
Nick Fraelich,
Marc Almond,
China Crisis, China Crisis, China Crisis, China Crisis.
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.