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 Libya and from Beijing.
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 1964 to 1976.
I'm losing my edge.
To all the kids in Manila and Calgary.
I'm losing my edge to the art-school Tehran 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 snare sounds with much patience.
I was there when David Bowie 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 Mary Jane Girls 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 Nation of Ulysses. All the underground hits.
All The Kinks tracks. I heard you have a vinyl of every Gregory Isaacs record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Livin' Joy record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
D'Angelo,
Saccharine Trust,
Bronski Beat,
Scrapy,
Joyce Sims,
Black Moon,
Scott Walker,
Quando Quango,
Ornette Coleman,
Brothers Johnson,
Gichy Dan,
The Gun Club,
Don Cherry,
Louis and Bebe Barron,
Stockholm Monsters,
Tears for Fears,
Traffic Nightmare,
Pet Shop Boys,
Jacob Miller,
Hardrive,
Drexciya,
The West Coast Pop Art Experimental Band,
Angry Samoans,
Amon Düül,
Ronan,
John Foxx,
Jerry Gold Smith,
Bob Dylan,
The Residents,
The Gories,
Neu!,
Robert Wyatt,
The Shadows of Knight,
Marmalade,
Wighnomy Brothers & Robag Wruhme,
Matthew Halsall,
Stiv Bators,
The United States of America,
Bluetip,
The Human League,
Crooked Eye,
Sparks,
Lucky Dragons,
Notorious Big And Bone Thugs,
The Men They Couldn't Hang,
Bauhaus,
Harry Pussy,
Lebanon Hanover,
Thinking Fellers Union Local 282,
Soft Cell,
Rites of Spring,
The Zeros,
Echospace,
Throbbing Gristle,
Teenage Jesus and the Jerks,
Funky Four + One,
Yazoo,
The Velvet Underground,
Franke,
Bill Near,
Jimmy McGriff, Jimmy McGriff, Jimmy McGriff, Jimmy McGriff.
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.