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 Germany and from Glasgow.
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 1960 to 1974.
I'm losing my edge.
To all the kids in Paris and Milan.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the güiro sounds with much patience.
I was there when Donald Fagen 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 Lindisfarne to the electroclash kids.
I played it at the 40 Watt.
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 John Foxx. All the underground hits.
All Avey Tare tracks. I heard you have a vinyl of every Todd Terry 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 '80s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Drive Like Jehu record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soft Machine,
Bobby Womack,
L. Decosne,
Lafayette Afro Rock Band,
Flamin' Groovies,
The Dead C,
Howard Jones,
Hardrive,
The Kinks,
The Knickerbockers,
Arthur Verocai,
The Doobie Brothers,
John Cale,
The Stooges,
The Pretty Things,
Oblivians,
The Techniques,
Electric Prunes,
Eric Copeland,
Technova,
Ash Ra Tempel,
Au Pairs,
Strawberry Alarm Clock,
Rahsaan Roland Kirk,
Sunsets and Hearts,
It's A Beautiful Day,
Gerry Rafferty,
The Sound,
Brass Construction,
Tears for Fears,
the Association,
The Leaves,
Michelle Simonal,
Tim Buckley,
Nico,
Man Parrish,
LL Cool J,
Brick,
Don Cherry,
Kenny Larkin,
The Victims,
Motorama,
Grandmaster Flash and the Furious Five,
Radiohead,
Sound Behaviour,
The Blues Magoos,
Royal Trux,
the Fania All-Stars,
Essential Logic,
Bad Manners,
John Foxx,
Fluxion,
Peter and Kerry,
Skaos,
Crash Course in Science,
Panda Bear,
ABBA,
Charles Mingus,
Graham Central Station,
Minutemen,
Dawn Penn,
Byron Stingily,
Al Stewart,
Easy Going, Easy Going, Easy Going, Easy Going.
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.