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 Solomon Islands and from Delhi.
But I was there.
I was there in 1973.
I was there at the first Television 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 1965 to 1979.
I'm losing my edge.
To all the kids in London and Mexico City.
I'm losing my edge to the art-school Lagos 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 Al Stewart to the jazz kids.
I played it at the Roxy.
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 Pussy Galore. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every Desert Stars record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an arpeggiator and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Inner City record.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Germs,
a-ha,
Guru Guru,
Visage,
Joe Smooth,
Lightning Bolt,
Los Fastidios,
The Divine Comedy,
Scrapy,
Bill Near,
The Smiths,
Super Lover Cee & Casanova Rud,
Tears for Fears,
Intrusion,
Marmalade,
Massinfluence,
Notorious Big And Bone Thugs,
Erasure,
Buzzcocks,
The Leaves,
Janne Schatter,
Alison Limerick,
Eli Mardock,
Neu!,
The Alarm Clocks,
The Real Kids,
Circle Jerks,
Max Romeo,
Judy Mowatt,
Sight & Sound,
Avey Tare & Kría Brekkan,
The Seeds,
X-101,
Depeche Mode,
Kerri Chandler,
The Neon Judgement,
Jeff Lynne,
Vladislav Delay,
OOIOO,
Ken Boothe,
Jeff Mills,
Lindisfarne,
The Cramps,
Country Joe & The Fish,
Skriet,
Newcleus,
Procol Harum,
Reagan Youth,
Magazine,
Gang Starr,
Duran Duran,
Hasil Adkins,
Art Ensemble Of Chicago,
Mantronix,
Josef K,
Michelle Simonal,
Cluster,
Joe Finger,
Ohio Players,
Todd Terry,
EPMD,
In Retrospect, In Retrospect, In Retrospect, In Retrospect.
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.