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 Ukraine and from Shanghai.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Lille and Beijing.
I'm losing my edge to the art-school Johannesburg 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 Michael McDonald 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 Busters to the techno kids.
I played it at CBGB's.
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 Rhythm & Sound. All the underground hits.
All Hasil Adkins tracks. I heard you have a vinyl of every Juan Atkins 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 '80s.
I hear you're buying a guitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Modern Lovers record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Yellowson,
Tres Demented,
Kas Product,
Cluster,
Tropical Tobacco,
Manfred Mann's Earth Band,
Das Ding,
Deutsch Amerikanische Freundschaft,
Hasil Adkins,
Al Stewart,
Beasts of Bourbon,
Khruangbin,
A Certain Ratio,
Underground Resistance,
Rhythm & Sound,
Fear,
Janne Schatter,
The Five Americans,
Section 25,
B.T. Express,
Metal Thangz,
Steve Hackett,
The Gories,
Q65,
Bang On A Can,
Marine Girls,
Shuggie Otis,
The Names,
Mars,
Main Source,
Lightning Bolt,
Rufus Thomas,
The Barracudas,
Cal Tjader,
The Residents,
Oppenheimer Analysis,
Gang Starr,
Porter Ricks,
Circle Jerks,
Crispy Ambulance,
Wings,
The Toasters,
David Axelrod,
Easy Going,
ABC,
Idris Muhammad,
The Dead C,
Minutemen,
Wire,
Brand Nubian,
The Techniques,
Marc Romboy vs. Booka Shade,
Alice Coltrane,
The Dave Clark Five,
Donald Byrd,
Joey Negro,
Laurel Aitken,
The Music Machine,
Röyhkä ja Rättö ja Lehtisalo,
The Wake,
London Community Gospel Choir,
The Smiths,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.