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 Saudi Arabia and from Johannesburg.
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 1968 to 1977.
I'm losing my edge.
To all the kids in London and Lyon.
I'm losing my edge to the art-school Madrid 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 guitar sounds with much patience.
I was there when Donald Fagen 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 The Skatalites to the disco kids.
I played it at the Roxy.
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 Quando Quango. All the underground hits.
All Kerrie Biddell tracks. I heard you have a vinyl of every Cabaret Voltaire record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Nils Olav record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cheater Slicks,
Cameo,
The Moody Blues,
Urselle,
The Gories,
Aswad,
Pere Ubu,
Avey Tare & Kría Brekkan,
Porter Ricks,
The Grass Roots,
R.M.O.,
Section 25,
the Normal,
Heavy D & The Boyz,
Black Bananas,
Man Eating Sloth,
Skaos,
Minor Threat,
Eric B and Rakim,
Oblivians,
Radio Birdman,
Visage,
Grey Daturas,
Bob Dylan,
Rhythim Is Rhythim,
Lizzy Mercier Descloux,
Robert Görl,
Magazine,
CMW,
Gang of Four,
New Age Steppers,
Public Enemy,
Pulsallama,
Bobby Hutcherson,
Bluetip,
Peter & Gordon,
Pete Rock & C.L. Smooth,
Alison Limerick,
Japan,
DJ Sneak,
Soft Machine,
Dark Day,
The Mummies,
Crispian St. Peters,
Sad Lovers and Giants,
DNA,
The New Christs,
Jandek,
Arab on Radar,
Patti Smith,
Mad Mike,
Soul Sonic Force,
Buzzcocks,
Connie Case,
Khruangbin,
Gil Scott-Heron & Brian Jackson,
Mr. Review,
Lee Hazlewood,
T.S.O.L.,
Lucky Dragons,
F. McDonald,
Fluxion,
The Remains, The Remains, The Remains, The Remains.
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.