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 United Kingdom and from Lyon.
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 1963 to 1975.
I'm losing my edge.
To all the kids in Edmonton and Tokyo.
I'm losing my edge to the art-school Mumbai 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 theremin 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 Godley & Creme to the rock 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 the Soft Cell. All the underground hits.
All Nirvana tracks. I heard you have a vinyl of every Morten Harket 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 '70s cut and another box set from the '90s.
I hear you're buying a 808 and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Junior Murvin record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tommy Roe,
Massinfluence,
Unwound,
Lyres,
Crooked Eye,
Notorious BIG live in Amsterdam,
Fat Boys,
Pharoah Sanders,
Qualms,
Avey Tare's Slasher Flicks,
Procol Harum,
Charles Mingus,
Patti Smith,
Judy Mowatt,
Ultra Naté,
The Standells,
Mo-Dettes,
the Bar-Kays,
DeepChord presents Echospace,
Kurtis Blow,
Donald Byrd,
Thinking Fellers Union Local 282,
Ornette Coleman,
The Litter,
Lonnie Liston Smith,
The Move,
Grey Daturas,
Henry Cow,
The Fire Engines,
Supertramp,
Heavy D & The Boyz,
The Divine Comedy,
Desert Stars,
Bronski Beat,
Black Sheep,
Scrapy,
Radiopuhelimet,
Eve St. Jones,
Das Ding,
The Mummies,
The Gap Band,
Animal Collective,
Lower 48,
David Axelrod,
Michelle Simonal,
Matthew Halsall,
Deadbeat,
Surgeon,
Depeche Mode,
Dawn Penn,
Albert Ayler,
The Gun Club,
Fluxion,
Prince Buster,
The Gories,
Fifty Foot Hose,
Rowland S Howard / Lydia Lunch,
Bizarre Inc.,
Public Image Ltd., Public Image Ltd., Public Image Ltd., Public Image Ltd..
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.