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 Vietnam and from Hong Kong.
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 1978.
I'm losing my edge.
To all the kids in Halifax and Milan.
I'm losing my edge to the art-school London 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 marimba 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 Procol Harum to the rap 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 Ohio Players. All the underground hits.
All Mr. Review tracks. I heard you have a vinyl of every A Certain Ratio record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a mellotron and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Ronan record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fall,
Soulsonic Force,
The Angels of Light,
These Immortal Souls,
Harry Pussy,
The Standells,
Connie Case,
Rites of Spring,
Sandy B,
Rod Modell,
Yusef Lateef,
Audionom,
Rufus Thomas,
Aswad,
Lou Christie,
David Axelrod,
MDC,
Ornette Coleman,
Wolf Eyes,
Gang Gang Dance,
Eyeless In Gaza,
Roger Hodgson,
Amon Düül II,
Black Flag,
Peter Gordon & Love of Life Orchestra,
Pharaoh Sanders and the Fire Engines,
Gabor Szabo,
Popol Vuh,
Dual Sessions,
Man Parrish,
Graham Central Station,
The Tremeloes,
Rahsaan Roland Kirk,
Television,
Bang On A Can,
The Names,
The Moleskins,
DJ Style,
Anakelly,
Pere Ubu,
Rapeman,
Shoche,
The Offenders,
Sad Lovers and Giants,
Captain Beefheart & His Magic Band,
Gil Scott-Heron and Jamie xx,
Bob Dylan,
Dave Gahan,
Quando Quango,
Magazine,
The Pop Group,
Max Romeo,
Arcadia,
Robert Görl,
Strawberry Alarm Clock,
Janne Schatter,
Red Lorry Yellow Lorry,
Blancmange,
The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy.
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.