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 Thailand and from Manchester.
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 Delhi and Sao Paulo.
I'm losing my edge to the art-school Manchester 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the rhodes sounds with much patience.
I was there when Donald Fagen 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 Supertramp to the disco kids.
I played it at Cafe Wha.
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 Scan 7. All the underground hits.
All The Mojo Men tracks. I heard you have a vinyl of every James Chance & The Contortions 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 '60s cut and another box set from the '90s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Technova,
Kauko Röyhkä ja Narttu,
Pierre Henry,
The Seeds,
Roy Ayers Ubiquity,
Sugar Minott,
Dead Boys,
The Misunderstood,
Mary Jane Girls,
Lou Christie,
Mark Hollis,
Grandmaster Flash and the Furious Five,
The J.B.'s,
Negative Approach,
New York Dolls,
The Grass Roots,
Lyres,
Rites of Spring,
L. Decosne,
Charles Mingus,
Archie Shepp,
the Normal,
Boredoms,
Wasted Youth,
AZ,
Organ,
Oppenheimer Analysis,
Los Fastidios,
Echospace,
Parry Music,
Gil Scott Heron,
Pharoah Sanders,
Justin Hinds & The Dominoes,
X-Ray Spex,
Sam Rivers,
Sad Lovers and Giants,
Ossler,
Dual Sessions,
Agent Orange,
China Crisis,
Barrington Levy,
Depeche Mode,
Fatback Band,
The Young Rascals,
Outsiders,
Dennis Brown,
Althea and Donna,
Ronan,
Radio Birdman,
Bang on a Can All-Stars,
Kenny Larkin,
Oneida,
Ituana,
Lakeside,
Soft Machine,
Camouflage,
Throbbing Gristle,
Supertramp,
Avey Tare,
Yellowson,
Siglo XX, Siglo XX, Siglo XX, Siglo XX.
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.