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 Mauritania and from Jakarta.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Delhi and Edmonton.
I'm losing my edge to the art-school Johannesburg 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the 808 sounds with much patience.
I was there when Captain Beefheart 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 Monochrome Set to the grunge kids.
I played it at the Troubador.
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 Orchestral Manoeuvres in the Dark. All the underground hits.
All Bizarre Inc. tracks. I heard you have a vinyl of every Tubeway Army 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 '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Tom Boy record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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?
X-101,
Joe Finger,
The Techniques,
Surgeon,
Bill Near,
Ronan,
Mad Mike,
The Skatalites,
Kings Of Tomorrow,
Notorious BIG live in Amsterdam,
Sarah Menescal,
The Fortunes,
Lee Hazlewood,
The Cure,
Stockholm Monsters,
The Buckinghams,
Mars,
Soft Cell,
Susan Cadogan,
Jesper Dahlback,
a-ha,
AZ,
Metal Thangz,
Marc Almond,
Derrick May,
Icehouse,
Sandy B,
The Toasters,
Vaughan Mason & Crew,
Los Fastidios,
Absolute Body Control,
Audionom,
Drive Like Jehu,
Henry Cow,
Aswad,
Don Cherry,
Skarface,
The Real Kids,
Vainqueur,
Byron Stingily,
Shoche,
48th St. Collective,
Barclay James Harvest,
Basic Channel,
Theoretical Girls,
Scrapy,
Roxette,
Bill Wells,
The American Breed,
The Grass Roots,
Marcia Griffiths,
Pussy Galore,
Jeru the Damaja,
Roxy Music,
X-Ray Spex,
Beasts of Bourbon,
Cabaret Voltaire,
The Invisible,
The Doobie Brothers,
Monks, Monks, Monks, Monks.
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.