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 Georgia and from London.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Manila and Glasgow.
I'm losing my edge to the art-school Glasgow 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 U.S. Maple 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 Interpol. All the underground hits.
All Minnie Riperton tracks. I heard you have a vinyl of every Bill Wells record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Lafayette Afro Rock Band record.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Christie,
Can,
The Divine Comedy,
Pagans,
Flash Fearless,
Scott Walker,
Deakin,
Gil Scott Heron,
Visage,
Angry Samoans,
Peter Gordon & Love of Life Orchestra,
Eve St. Jones,
Fluxion,
The Raincoats,
Vladislav Delay,
Reagan Youth,
Traffic Nightmare,
The Doobie Brothers,
UT,
Tears for Fears,
Juan Atkins,
Whodini,
Vainqueur,
Maleditus Sound,
Technova,
The Jesus and Mary Chain,
Grey Daturas,
Scientists,
AZ,
Colin Newman,
Letta Mbulu,
Idris Muhammad,
Roxy Music,
Frankie Knuckles,
Metal Thangz,
Scion,
Barclay James Harvest,
The Standells,
Make Up,
The Busters,
Larry & the Blue Notes,
Lou Reed,
X-Ray Spex,
The Fugs,
The Human League,
Donny Hathaway,
Kauko Röyhkä ja Narttu,
The Monochrome Set,
Monks,
Aural Exciters,
Eurythmics,
Glenn Branca,
Black Sheep,
In Retrospect,
Faraquet,
D'Angelo,
the Association,
Minny Pops,
The Trojans,
the Human League,
The Electric Prunes,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.