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 Tunisia and from Glasgow.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Bremen and Salvador.
I'm losing my edge to the art-school Beijing 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the mellotron 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 Trumans Water to the disco kids.
I played it at the Astoria.
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 Slave. All the underground hits.
All Joey Negro tracks. I heard you have a vinyl of every Bootsy Collins record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an organ and a sitar 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 arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alison Limerick,
Dennis Brown,
Tomorrow,
Oppenheimer Analysis,
Cluster,
Model 500,
Major Organ And The Adding Machine,
The Pop Group,
Bobby Sherman,
Larry & the Blue Notes,
Bang On A Can,
The Durutti Column,
Albert Ayler,
The Searchers,
The Tremeloes,
the Human League,
Barbara Tucker,
The Busters,
Barclay James Harvest,
Black Moon,
Boogie Down Productions,
Max Romeo,
John Coltrane,
Fatback Band,
Sight & Sound,
Television,
AZ,
Accadde A,
The Royal Family And The Poor,
Metal Thangz,
Roy Ayers Ubiquity,
Delta 5,
Lou Reed,
Angry Samoans,
Public Image Ltd.,
The Black Dice,
Depeche Mode,
New Age Steppers,
Bang on a Can All-Stars,
Michelle Simonal,
Arcadia,
Bobby Hutcherson,
Jandek,
Matthew Bourne,
Grandmaster Flash and the Furious Five,
The Smiths,
Al Stewart,
The Golliwogs,
Josef K,
The Index,
Outsiders,
Carl Craig,
The Zeros,
Jerry's Kids,
Half Japanese,
Aaron Thompson,
Ten City,
Wire,
Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts.
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.