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 Rwanda and from Calgary.
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 1977.
I'm losing my edge.
To all the kids in Cairo and Edmonton.
I'm losing my edge to the art-school Cairo 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 mellotron 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 Maleditus Sound to the punk 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 Boogie Down Productions. All the underground hits.
All Marc Romboy vs. Booka Shade tracks. I heard you have a vinyl of every The American Breed 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 '50s cut and another box set from the '90s.
I hear you're buying a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Derrick Morgan record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Throbbing Gristle,
Mo-Dettes,
Marine Girls,
The Busters,
Brass Construction,
X-101,
the Association,
The Mighty Diamonds,
OOIOO,
Pierre Henry,
The Barracudas,
the Fania All-Stars,
Pussy Galore,
Joe Finger,
Terry Callier,
Boz Scaggs,
Nils Olav,
The Star Department,
The Monks,
Bobby Byrd,
Nick Fraelich,
Tommy Roe,
X-102,
Bill Wells,
Second Layer,
Crooked Eye,
Lyres,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Zeros,
Captain Beefheart & His Magic Band,
Selector Dub Narcotic,
Von Mondo,
Kevin Saunderson,
Al Stewart,
Royal Trux,
Monks,
Glambeats Corp.,
the Sonics,
Bush Tetras,
Boogie Down Productions,
Vladislav Delay,
The Neon Judgement,
Laurel Aitken,
The Searchers,
Metal Thangz,
Black Bananas,
Cheater Slicks,
Shoche,
Piero Umiliani,
Matthew Halsall,
Delta 5,
Jesper Dahlbäck,
Guru Guru,
The Dave Clark Five,
Ultramagnetic MC's,
New York Dolls,
Minny Pops,
Avey Tare & Kría Brekkan,
Arcadia,
De La Soul & Jungle Brothers,
Nas, Nas, Nas, Nas.
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.