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 Angola and from Beijing.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Beijing and Manila.
I'm losing my edge to the art-school Philadelphia 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the chamberlin 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 Alison Limerick to the disco kids.
I played it at the Troubador.
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 Erasure. All the underground hits.
All Red Lorry Yellow Lorry tracks. I heard you have a vinyl of every The Red Krayola 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 '70s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Glambeats Corp. record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Joe Smooth,
Wally Richardson,
Nico,
Kauko Röyhkä ja Narttu,
In Retrospect,
June of 44,
Patti Smith,
David Axelrod,
Wasted Youth,
The Stooges,
Girls At Our Best!,
the Bar-Kays,
Echospace,
Mission of Burma,
Deakin,
Kaleidoscope,
Todd Terry,
Scott Walker + Sunn O))),
the Soft Cell,
Avey Tare's Slasher Flicks,
Aloha Tigers,
Monolake,
Smog,
Mars,
Swell Maps,
The Black Dice,
The Dirtbombs,
Radiopuhelimet,
The Busters,
Infiniti,
Desert Stars,
Derrick Morgan,
Echo & the Bunnymen,
Scrapy,
Dorothy Ashby,
Lou Reed & Metallica,
Minor Threat,
Richard Hell and the Voidoids,
Mary Jane Girls,
Simply Red,
The Gap Band,
Max Romeo,
The Cosmic Jokers,
Bill Near,
Japan,
Public Enemy,
Sexual Harrassment,
Jerry's Kids,
Hardrive,
Peter Gordon & Love of Life Orchestra,
Visage,
Dr. Dre and Snoop Doggy Dog,
Lightning Bolt,
Heaven 17,
Marc Almond,
New York Dolls,
London Community Gospel Choir,
Drexciya,
Rufus Thomas,
Skarface,
Marmalade,
Thee Headcoats,
Liaisons Dangereuses,
the Human League, the Human League, the Human League, the Human League.
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.