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 Uganda and from Madrid.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Spokane and Copenhagen.
I'm losing my edge to the art-school Winnipeg 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the sitar sounds with much patience.
I was there when Lou Reed 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 Scion to the jazz kids.
I played it at the Crocodile.
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 Rakim. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every Animal Collective record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a snare and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Jeff Lynne record.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Terry Callier,
Nick Fraelich,
Johnny Osbourne,
Mars,
New Order,
James White and The Blacks,
Alison Limerick,
China Crisis,
Dead Boys,
Echospace,
Roy Ayers,
The Fall,
Roger Hodgson,
X-102,
Bob Dylan,
Beasts of Bourbon,
Shoche,
Motorama,
Pharaoh Sanders and the Fire Engines,
Bobby Sherman,
Absolute Body Control,
Ralphi Rosario,
Joensuu 1685,
Black Bananas,
The Pretty Things,
Ice-T,
Rotary Connection,
Soft Cell,
The Mummies,
John Foxx,
Roy Ayers Ubiquity,
Matthew Halsall,
Bill Wells,
B.T. Express,
Flipper,
Deutsch Amerikanische Freundschaft,
K-Klass,
Delta 5,
Jeff Lynne,
Spoonie Gee,
Yellowson,
Dorothy Ashby,
The Moody Blues,
Eli Mardock,
Leonard Cohen,
Minny Pops,
Frankie Knuckles,
The Toasters,
Fort Wilson Riot,
Amon Düül,
Monks,
Young Marble Giants,
Graham Central Station,
Reagan Youth,
DeepChord presents Echospace,
Make Up,
Spandau Ballet,
Lower 48,
Fear,
Dark Day,
In Retrospect,
Avey Tare's Slasher Flicks,
Stockholm Monsters, Stockholm Monsters, Stockholm Monsters, Stockholm Monsters.
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.