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 Chile and from New York.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Taipei and Lyon.
I'm losing my edge to the art-school Portland 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 harpsichord sounds with much patience.
I was there when Lou Reed 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 Bill Wells to the grime kids.
I played it at the Spitz.
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 Leaves. All the underground hits.
All The Toasters tracks. I heard you have a vinyl of every Electric Light Orchestra record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a spring reverb and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your 808 and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Tropical Tobacco,
The Slackers,
Gang of Four,
The Jesus and Mary Chain,
James White and The Blacks,
John Lydon,
Agitation Free,
Darondo,
Grey Daturas,
Thompson Twins,
Graham Central Station,
The Index,
Roy Ayers,
Amon Düül II,
Susan Cadogan,
Groovy Waters,
The Red Krayola,
H. Thieme,
Dark Day,
Scott Walker,
The J.B.'s,
Tim Buckley,
Avey Tare,
Lungfish,
Japan,
Country Teasers,
Fifty Foot Hose,
Sandy B,
Harpers Bizarre,
Piero Umiliani,
Sarah Menescal,
Hardrive,
Godley & Creme,
Lightning Bolt,
Drexciya,
The Kinks,
John Holt,
Lindisfarne,
Barclay James Harvest,
Marmalade,
Bootsy's Rubber Band,
Amazonics,
Excepter,
Angry Samoans,
The Associates,
Peter Gordon & Love of Life Orchestra,
Ronnie Foster,
Hasil Adkins,
Liaisons Dangereuses,
Sällskapet,
Jerry's Kids,
The Wake,
DJ Style,
The Motions,
A Flock of Seagulls,
Ken Boothe,
Davy DMX,
Mad Mike,
Archie Shepp,
David Axelrod,
Supertramp,
Notorious BIG live in Amsterdam, Notorious BIG live in Amsterdam, Notorious BIG live in Amsterdam, Notorious BIG live in Amsterdam.
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.