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 Suriname and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1969 to 1976.
I'm losing my edge.
To all the kids in Bologna and Hong Kong.
I'm losing my edge to the art-school Stockholm 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 rhodes sounds with much patience.
I was there when Michael McDonald 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 Country Teasers to the rock 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 the Human League. All the underground hits.
All The Trojans tracks. I heard you have a vinyl of every Bootsy's Rubber Band 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 '70s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Eli Mardock record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Cell,
DJ Style,
Icehouse,
Camberwell Now,
Davy DMX,
Lou Reed & John Cale,
Byron Stingily,
Nas,
The Dirtbombs,
Marshall Jefferson,
Juan Atkins,
Gil Scott Heron,
Andrew Ashong & Theo Parrish,
Tom Boy,
Jerry's Kids,
Magazine,
Heavy D & The Boyz,
Graham Central Station,
The Seeds,
Bobby Womack,
Sister Nancy,
Main Source,
Eve St. Jones,
Soulsonic Force,
Stereo Dub,
Visage,
Minor Threat,
Los Fastidios,
The Count Five,
The Move,
The Pretty Things,
Slave,
The Human League,
Schoolly D,
Black Moon,
Yellowson,
The Birthday Party,
The Selecter,
Kerri Chandler,
Kenny Larkin,
Ice-T,
Avey Tare's Slasher Flicks,
Adolescents,
The Gories,
Isaac Hayes,
Young Marble Giants,
DJ Sneak,
LL Cool J,
Cal Tjader,
Roxy Music,
Charles Mingus,
Rosa Yemen,
Zapp,
Eric Dolphy,
Alison Limerick,
Hardrive,
Unrelated Segments,
Amon Düül II,
Kaleidoscope,
Mantronix, Mantronix, Mantronix, Mantronix.
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.