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 Iran and from Edmonton.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Philadelphia and Glasgow.
I'm losing my edge to the art-school Portland 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 chamberlin sounds with much patience.
I was there when Robert Palmer 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 Neil Young to the disco 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 The Happenings. All the underground hits.
All Angry Samoans tracks. I heard you have a vinyl of every Urselle record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Vladislav Delay record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Swell Maps,
Soft Cell,
Arab on Radar,
Man Parrish,
Brothers Johnson,
Marmalade,
Thee Headcoats,
Al Stewart,
Kerrie Biddell,
John Lydon,
Outsiders,
Letta Mbulu,
Scrapy,
Franke,
Röyhkä ja Rättö ja Lehtisalo,
Bobby Womack,
Oppenheimer Analysis,
Magazine,
The Pop Group,
Masters at Work,
The Offenders,
Pharaoh Sanders and the Fire Engines,
Brass Construction,
Excepter,
E-Dancer,
Erasure,
Hasil Adkins,
Lightning Bolt,
Alphaville,
PIL,
The Mighty Diamonds,
Soulsonic Force,
Grandmaster Flash and the Furious Five,
Kool G Rap & DJ Polo,
The New Christs,
Don Cherry,
Sonny Sharrock,
Heavy D & The Boyz,
Ornette Coleman,
Unwound,
Ultra Naté,
Lucky Dragons,
Duran Duran,
H. Thieme,
Make Up,
The Move,
Stockholm Monsters,
Hardrive,
the Slits,
Kool Moe Dee,
JFA,
Aloha Tigers,
The Blackbyrds,
Roy Ayers,
Flamin' Groovies,
Glenn Branca,
Cluster,
Jesper Dahlbäck,
Animal Collective,
Minny Pops,
The Five Americans,
Jesper Dahlback,
Scott Walker + Sunn O))), Scott Walker + Sunn O))), Scott Walker + Sunn O))), Scott Walker + Sunn O))).
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.