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 Greece and from Glasgow.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Edmonton and Manchester.
I'm losing my edge to the art-school Mexico City 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 harpsichord 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 Parry Music to the disco kids.
I played it at the Hacienda.
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 Soul II Soul. All the underground hits.
All Crime tracks. I heard you have a vinyl of every Model 500 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 '70s cut and another box set from the '70s.
I hear you're buying a marimba and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Agent Orange record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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?
T.S.O.L.,
Stetsasonic,
Todd Terry,
The Dead C,
Cluster,
The United States of America,
8 Eyed Spy,
Eurythmics,
Ultramagnetic MC's,
It's A Beautiful Day,
Tom Boy,
Minny Pops,
Roy Ayers,
Ronnie Foster,
The Searchers,
Nation of Ulysses,
Outsiders,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Dawn Penn,
Scientists,
Dorothy Ashby,
Girls At Our Best!,
the Slits,
Japan,
Al Stewart,
Sun Ra,
Gil Scott-Heron & Brian Jackson,
The Beau Brummels,
Popol Vuh,
The Doors,
Jeru the Damaja,
Nick Cave & The Bad Seeds,
Marc Almond,
The Seeds,
Newcleus,
Von Mondo,
The New Christs,
Kas Product,
David McCallum,
Colin Newman,
Scott Walker,
Quando Quango,
The Associates,
Mary Jane Girls,
Fort Wilson Riot,
Masters at Work,
The Walker Brothers,
K-Klass,
Parry Music,
Joyce Sims,
Depeche Mode,
Joensuu 1685,
Echo & the Bunnymen,
Eric Dolphy,
Radiopuhelimet,
Jerry's Kids,
E-Dancer,
Avey Tare's Slasher Flicks,
Average White Band,
ABBA,
Strawberry Alarm Clock,
The Smiths, The Smiths, The Smiths, The Smiths.
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.