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 Bolivia and from Stockholm.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 Manchester and Tehran.
I'm losing my edge to the art-school Beijing 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 mellotron sounds with much patience.
I was there when Donald Fagen 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 Rhythim Is Rhythim to the electroclash 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 The Detroit Cobras. All the underground hits.
All Glenn Branca tracks. I heard you have a vinyl of every Danielle Patucci record on German import.
I heard that you have a white label of every seminal grime 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 spring reverb and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Scan 7 record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Chrome,
Smog,
Moss Icon,
Pere Ubu,
The Motions,
Interpol,
Donny Hathaway,
Stetsasonic,
Swell Maps,
Archie Shepp,
Skriet,
Steve Hackett,
Kauko Röyhkä ja Narttu,
Ultra Naté,
Mad Mike,
Sun Ra,
Curtis Mayfield,
Alphaville,
Bobby Hutcherson,
A Certain Ratio,
Eyeless In Gaza,
The Names,
Stockholm Monsters,
Man Parrish,
Supertramp,
Jeru the Damaja,
Bronski Beat,
Amon Düül II,
Faraquet,
Nik Kershaw,
The Fugs,
Aaron Thompson,
Skarface,
Cabaret Voltaire,
The Evens,
Simply Red,
Donald Byrd,
Camberwell Now,
Thee Headcoats,
Boogie Down Productions,
Neu!,
The United States of America,
Major Organ And The Adding Machine,
The Dave Clark Five,
Harry Pussy,
Heaven 17,
Q and Not U,
Jerry's Kids,
Black Moon,
Man Eating Sloth,
Barclay James Harvest,
L. Decosne,
These Immortal Souls,
Quando Quango,
Sällskapet,
The New Christs,
Marmalade,
Eve St. Jones,
Second Layer,
Duran Duran,
Swans,
Manfred Mann's Earth Band,
Amon Düül,
Jesper Dahlback,
Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five, Grandmaster Flash and the Furious Five.
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.