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 St Lucia and from Copenhagen.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Tehran and London.
I'm losing my edge to the art-school Hong Kong 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 harpsichord sounds with much patience.
I was there when Michael McDonald 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 Lizzy Mercier Descloux to the disco 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 Ten City. All the underground hits.
All the Normal tracks. I heard you have a vinyl of every Monolake record on German import.
I heard that you have a white label of every seminal crunk 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 snare and are throwing your macbook out the window because you want to make something real. You want to make a Arcadia record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Magma,
Louis and Bebe Barron,
The Smiths,
Amon Düül II,
Yusef Lateef,
Janne Schatter,
Ponytail,
Glenn Branca,
Graham Central Station,
Erasure,
Echospace,
Eyeless In Gaza,
Peter & Gordon,
Gong,
The Divine Comedy,
The Names,
Lower 48,
Stiv Bators,
Rekid,
Richard Hell and the Voidoids,
Section 25,
Red Lorry Yellow Lorry,
The Cosmic Jokers,
Bad Manners,
Rotary Connection,
The Doobie Brothers,
The Gories,
Essential Logic,
Kings Of Tomorrow,
Roxy Music,
Lonnie Liston Smith,
Rosa Yemen,
Royal Trux,
Sällskapet,
Ajijia Myrayebe,
Aaron Thompson,
Angry Samoans,
Siouxsie and the Banshees,
Kenny Larkin,
Ornette Coleman,
Leonard Cohen,
Hot Snakes,
the Sonics,
The Pop Group,
Camberwell Now,
Absolute Body Control,
Pet Shop Boys,
Con Funk Shun,
Lou Reed,
Strawberry Alarm Clock,
The Fall,
The Move,
The Trojans,
Magazine,
Delon & Dalcan,
The Velvet Underground,
Circle Jerks,
Ossler,
Bobby Sherman,
Mars,
Lalo Schifrin,
Moss Icon,
Patti Smith,
Mary Jane Girls, Mary Jane Girls, Mary Jane Girls, Mary Jane Girls.
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.