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 Spain and from Seoul.
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 1970.
I'm losing my edge.
To all the kids in Madrid and Manila.
I'm losing my edge to the art-school Lyon 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 güiro sounds with much patience.
I was there when Lou Reed 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 Rekid to the crunk kids.
I played it at Cafe Wha.
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 Matthew Bourne. All the underground hits.
All Con Funk Shun tracks. I heard you have a vinyl of every Quando Quango record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Jacques Brel record.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
Maleditus Sound,
Joensuu 1685,
Derrick Morgan,
James Chance & The Contortions,
Laurel Aitken,
Brass Construction,
The Vogues,
OOIOO,
The United States of America,
Teenage Jesus and the Jerks,
Kerrie Biddell,
Gichy Dan,
Pantaleimon,
Gil Scott-Heron & Brian Jackson,
Severed Heads,
Rhythm & Sound,
Ajijia Myrayebe,
Aaron Thompson,
Shuggie Otis,
Country Teasers,
T.S.O.L.,
Siglo XX,
Joy Division,
Lou Reed & Metallica,
Lucky Dragons,
Zero Boys,
Girls At Our Best!,
Gerry Rafferty,
John Coltrane,
Juan Atkins,
Lou Christie,
LL Cool J,
L. Decosne,
Bush Tetras,
Ultra Naté,
Spoonie Gee,
Fear,
Lower 48,
Blancmange,
Davy DMX,
The Beau Brummels,
Gil Scott Heron,
Lalo Schifrin,
Crash Course in Science,
Moss Icon,
The Chocolate Watch Band,
Steve Hackett,
Intrusion,
Heavy D & The Boyz,
Pharoah Sanders,
Rotary Connection,
Gabor Szabo,
Rahsaan Roland Kirk,
The Music Machine,
The Gories,
The Wake,
The Five Americans,
Television,
Bill Near,
Mark Hollis,
Warsaw, Warsaw, Warsaw, Warsaw.
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.