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 Guatemala and from Hong Kong.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Paris and Delhi.
I'm losing my edge to the art-school Edmonton 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 güiro 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 Brass Construction to the jazz kids.
I played it at Trash.
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 Skaos. All the underground hits.
All Grandmaster Flash and the Furious Five tracks. I heard you have a vinyl of every Glenn Branca 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 '50s cut and another box set from the '90s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Soul II Soul record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sällskapet,
Ronan,
Excepter,
Camron Feat. Memphis Bleek And Beenie Seigel,
Barry Ungar,
Pharaoh Sanders and the Fire Engines,
Agent Orange,
Blancmange,
the Normal,
Juan Atkins,
The Gladiators,
Banda Bassotti,
Clear Light,
Rakim,
Arthur Verocai,
Quantec,
Terry Callier,
The Monks,
Yaz,
Lalo Schifrin,
The Birthday Party,
Magazine,
Kayak,
The Fortunes,
Altered Images,
Dave Gahan,
Scientists,
The Mojo Men,
Sad Lovers and Giants,
Schoolly D,
Vainqueur,
Leonard Cohen,
Arab on Radar,
Gian Franco Pienzio,
Los Fastidios,
Severed Heads,
June of 44,
Roxette,
Deutsch Amerikanische Freundschaft,
Sonny Sharrock,
Chrome,
The Gun Club,
Gang Green,
the Human League,
Fluxion,
Groovy Waters,
Sly & The Family Stone,
Lee Hazlewood,
Eurythmics,
Mantronix,
EPMD,
Frankie Knuckles,
Chris & Cosey,
New Order,
Eli Mardock,
Basic Channel,
Country Teasers,
Lindisfarne,
Skarface,
Sunsets and Hearts,
Tomorrow,
Scion,
OOIOO,
The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain, The Jesus and Mary Chain.
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.