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 Nauru and from Philadelphia.
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 1963 to 1973.
I'm losing my edge.
To all the kids in Toronto and Lyon.
I'm losing my edge to the art-school Salvador 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 808 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 Grauzone to the jazz 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 The Selecter. All the underground hits.
All The Saints tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal grunge 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 a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Soft Cell record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Associates,
The Residents,
The Fall,
Mandrill,
Jeru the Damaja,
Minny Pops,
Unrelated Segments,
The Happenings,
Public Enemy,
New Age Steppers,
The Gun Club,
Funkadelic,
Nik Kershaw,
Gregory Isaacs,
Ronan,
B.T. Express,
Radiopuhelimet,
Hot Snakes,
Erasure,
Infiniti,
T. Rex,
Swell Maps,
Tres Demented,
Section 25,
Isaac Hayes,
Stereo Dub,
Sun Ra,
Supertramp,
Peter and Kerry,
Reagan Youth,
Pulsallama,
A Certain Ratio,
The Fuzztones,
Ultra Naté,
Suburban Knight,
Pharoah Sanders,
Kenny Larkin,
Symarip,
Siouxsie and the Banshees,
Patti Smith,
John Cale,
48th St. Collective,
Fifty Foot Hose,
John Lydon,
Sad Lovers and Giants,
Yusef Lateef,
Eric Copeland,
Boogie Down Productions,
JFA,
Colin Newman,
Television Personalities,
Sam Rivers,
Pylon,
David Bowie,
The Grass Roots,
Amon Düül,
Janne Schatter,
Fatback Band,
Sällskapet,
The Saints, The Saints, The Saints, The Saints.
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.