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 Botswana and from New York.
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 1977.
I'm losing my edge.
To all the kids in Accra and Hong Kong.
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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the rhodes sounds with much patience.
I was there when Holger Czukay 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 Peter & Gordon to the dance 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 Accadde A. All the underground hits.
All Trumans Water tracks. I heard you have a vinyl of every Boz Scaggs record on German import.
I heard that you have a white label of every seminal jazz 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 a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod 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?
Pharoah Sanders,
Brass Construction,
Steve Hackett,
The Blackbyrds,
Jacques Brel,
Lou Reed,
John Coltrane,
Jeff Lynne,
Q and Not U,
Joey Negro,
Jacob Miller,
Faraquet,
Mr. Review,
DeepChord presents Echospace,
X-Ray Spex,
Fear,
The Raincoats,
Cabaret Voltaire,
Barry Ungar,
Intrusion,
Tears for Fears,
The Selecter,
Spandau Ballet,
U.S. Maple,
Negative Approach,
Black Bananas,
F. McDonald,
Oblivians,
Ash Ra Tempel,
The Shadows of Knight,
Marc Romboy vs. Booka Shade,
Duran Duran,
Kerrie Biddell,
Roxy Music,
Bob Dylan,
Suburban Knight,
June Days,
Matthew Halsall,
Soft Machine,
Gang of Four,
The Leaves,
Röyhkä ja Rättö ja Lehtisalo,
The Human League,
China Crisis,
The Doobie Brothers,
The Remains,
the Sonics,
Unrelated Segments,
Rufus Thomas,
Boogie Down Productions,
Pet Shop Boys,
Bill Near,
Roxette,
David Bowie,
Amon Düül,
Sarah Menescal,
Wire,
Lakeside,
Magazine,
Animal Collective, Animal Collective, Animal Collective, Animal Collective.
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.