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 Malaysia and from Stockholm.
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 1975.
I'm losing my edge.
To all the kids in Philadelphia and Delhi.
I'm losing my edge to the art-school Seoul 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 synthesizer 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 Ludus to the jazz kids.
I played it at the Hacienda.
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 Don Cherry. All the underground hits.
All Minutemen tracks. I heard you have a vinyl of every Notorious BIG live in Amsterdam 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 '50s cut and another box set from the '80s.
I hear you're buying a mellotron and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Franke record.
I hear that you and your band have sold your guitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Bar-Kays,
Sun Ra,
A Flock of Seagulls,
The Blackbyrds,
DJ Sneak,
The Alarm Clocks,
Terry Callier,
Roxette,
Fort Wilson Riot,
Arthur Verocai,
Masters at Work,
Marshall Jefferson,
The Barracudas,
Beasts of Bourbon,
Letta Mbulu,
Echo & the Bunnymen,
Infiniti,
The Durutti Column,
The Gun Club,
X-102,
Nas,
Gong,
Severed Heads,
D'Angelo,
Dawn Penn,
Ultravox,
Arab on Radar,
The Buckinghams,
Marc Almond,
Pole,
Lyres,
Howard Jones,
The Martian,
Ice-T,
Pharaoh Sanders and the Fire Engines,
Strawberry Alarm Clock,
Half Japanese,
The Smiths,
Stereo Dub,
Monks,
Jimmy McGriff,
Malaria!,
X-101,
Underground Resistance,
James Chance & The Contortions,
The Residents,
DNA,
Black Flag,
Laurel Aitken,
Echospace,
Tres Demented,
Mark Hollis,
Deepchord,
Jeff Mills,
The Evens,
David McCallum,
This Heat,
Soul II Soul,
Yusef Lateef,
Young Marble Giants,
Stockholm Monsters,
The Sound,
Cheater Slicks,
Rotary Connection, Rotary Connection, Rotary Connection, Rotary Connection.
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.