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 Czech Republic and from Lille.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1975.
I'm losing my edge.
To all the kids in Salvador and Halifax.
I'm losing my edge to the art-school Lyon 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 organ 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 Desert Stars to the jazz kids.
I played it at the Troubador.
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 R.M.O.. All the underground hits.
All Junior Murvin tracks. I heard you have a vinyl of every Marshall Jefferson record on German import.
I heard that you have a white label of every seminal funk 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 harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
Byron Stingily,
Pagans,
Al Stewart,
Talk Talk,
Soul Sonic Force,
Darondo,
The Names,
The Move,
Joe Finger,
Notorious Big And Bone Thugs,
The Barracudas,
Jerry Gold Smith,
Minny Pops,
The Invisible,
Glambeats Corp.,
Colin Newman,
Jacob Miller,
The Seeds,
The Mighty Diamonds,
De La Soul & Jungle Brothers,
Sexual Harrassment,
Howard Jones,
Junior Murvin,
Sticky Fingaz feat. Raekwon,
Aaron Thompson,
the Soft Cell,
Electric Prunes,
Lucky Dragons,
Japan,
The Modern Lovers,
Rufus Thomas,
Nation of Ulysses,
Bobby Hutcherson,
Bill Near,
Bluetip,
Traffic Nightmare,
K-Klass,
Dual Sessions,
Blossom Toes,
Richard Hell and the Voidoids,
Gil Scott Heron,
Schoolly D,
Ice-T,
The Motions,
Aswad,
Drexciya,
Pierre Henry,
Curtis Mayfield,
The Walker Brothers,
Procol Harum,
A Flock of Seagulls,
Todd Terry,
David McCallum,
Sparks,
Sugar Minott,
Public Enemy,
DJ Style,
Section 25,
Das Ding,
Notorious BIG live in Amsterdam,
Gil Scott-Heron and Jamie xx,
Hasil Adkins,
The Doors,
Barry Ungar,
The Toasters, The Toasters, The Toasters, The Toasters.
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.