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 United Kingdom and from Madrid.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Cairo and Portland.
I'm losing my edge to the art-school Accra 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the synthesizer 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 David Bowie to the grime 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 Eurythmics. All the underground hits.
All Dual Sessions tracks. I heard you have a vinyl of every Faraquet record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a mellotron and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Searchers record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Quando Quango,
Neil Young & Crazy Horse,
Black Pus,
Andrew Ashong & Theo Parrish,
Swell Maps,
Albert Ayler,
Scrapy,
Lucky Dragons,
Kerri Chandler,
Oppenheimer Analysis,
Spoonie Gee,
Siouxsie and the Banshees,
Bootsy's Rubber Band,
Gabor Szabo,
The Alarm Clocks,
Jimmy McGriff,
Erasure,
Roy Ayers Ubiquity,
The Moody Blues,
Icehouse,
Heaven 17,
Mary Jane Girls,
Circle Jerks,
Sun Ra Arkestra,
The Red Krayola,
Organ,
Goldenarms,
Lyres,
Bad Manners,
The Victims,
Louis and Bebe Barron,
Byron Stingily,
Eddi Front,
Howard Jones,
Harpers Bizarre,
Unrelated Segments,
Sunsets and Hearts,
Alice Coltrane,
Ultra Naté,
the Sonics,
Dave Gahan,
Crash Course in Science,
Bill Wells,
UT,
Rhythim Is Rhythim,
The Dave Clark Five,
The Selecter,
Laurel Aitken,
Cabaret Voltaire,
The Vogues,
Steve Hackett,
The Blackbyrds,
Big Daddy Kane,
The J.B.'s,
Jawbox,
U.S. Maple,
Pharoah Sanders,
Jesper Dahlback,
Tom Boy,
John Holt,
Funkadelic, Funkadelic, Funkadelic, Funkadelic.
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.