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 Algeria and from Sao Paulo.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Hong Kong and Accra.
I'm losing my edge to the art-school Lyon 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Babytalk to the crunk kids.
I played it at Cafe Wha.
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 Terry Callier. All the underground hits.
All Deakin tracks. I heard you have a vinyl of every Maurizio record on German import.
I heard that you have a white label of every seminal disco 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 synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Motions record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
The Black Dice,
Mission of Burma,
Kayak,
Scientists,
Juan Atkins,
Black Sheep,
U.S. Maple,
The Flesh Eaters,
Frankie Knuckles,
the Sonics,
Section 25,
The Walker Brothers,
Cluster,
Country Joe & The Fish,
Nick Cave & The Bad Seeds,
Lebanon Hanover,
Lungfish,
Joensuu 1685,
Gregory Isaacs,
Bush Tetras,
The Remains,
China Crisis,
Wolf Eyes,
Black Bananas,
Arthur Verocai,
Rapeman,
Cal Tjader,
Joe Finger,
Hardrive,
Los Fastidios,
Mark Hollis,
The Dirtbombs,
Grandmaster Flash and the Furious Five,
Ludus,
Ohio Players,
Johnny Clarke,
Popol Vuh,
KRS-One,
Roxy Music,
Echo & the Bunnymen,
Crash Course in Science,
The Busters,
Michelle Simonal,
Pierre Henry,
Justin Hinds & The Dominoes,
Red Lorry Yellow Lorry,
Zero Boys,
Chris Corsano,
The Invisible,
Shuggie Otis,
Hashim,
Nils Olav,
The Slackers,
Rotary Connection,
The Young Rascals,
Inner City,
Porter Ricks,
Ralphi Rosario,
London Community Gospel Choir, London Community Gospel Choir, London Community Gospel Choir, London Community Gospel Choir.
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.