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 Papua New Guinea and from Jakarta.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Copenhagen.
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 1979 at the first Second Layer practice in a loft in South London.
I was working on the linndrum sounds with much patience.
I was there when Nile Rodgers 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 Howard Jones to the electroclash 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 Mandrill. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Lower 48 record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Selecter record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scrapy,
Ornette Coleman,
The J.B.'s,
UT,
Joe Finger,
New York Dolls,
Infiniti,
Whodini,
Tommy Roe,
MC5,
Yaz,
JFA,
Average White Band,
Pulsallama,
John Cale,
Excepter,
MDC,
Crooked Eye,
Easy Going,
Blancmange,
Niagra,
Scion,
Nils Olav,
Marvin Gaye,
Sonny Sharrock,
Nico,
Sad Lovers and Giants,
The Dave Clark Five,
DJ Sneak,
Terror Squad Feat. Camron,
Pylon,
Ultimate Spinach,
F. McDonald,
The Residents,
The Mighty Diamonds,
Mad Mike,
Deepchord,
Soul II Soul,
Talk Talk,
Subhumans,
Gian Franco Pienzio,
Gichy Dan,
The Cure,
Camberwell Now,
Bronski Beat,
Cheater Slicks,
Dead Boys,
Lalo Schifrin,
John Holt,
Pete Rock & C.L. Smooth,
Lou Christie,
Spandau Ballet,
Fort Wilson Riot,
The Offenders,
Fad Gadget,
Jesper Dahlbäck,
Aswad,
Hashim,
The Doobie Brothers,
Sunsets and Hearts,
Black Bananas,
The Techniques,
Jawbox, Jawbox, Jawbox, Jawbox.
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.