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 Malawi and from Stockholm.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Madrid and Houston.
I'm losing my edge to the art-school Salvador 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the arpeggiator 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 Infiniti to the punk 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 Mark Hollis. All the underground hits.
All Eric Copeland tracks. I heard you have a vinyl of every Lizzy Mercier Descloux record on German import.
I heard that you have a white label of every seminal jazz 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 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Visage record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Jesus and Mary Chain,
The Dead C,
Rapeman,
Ultimate Spinach,
Half Japanese,
John Lydon,
World's Most,
Junior Murvin,
kango's stein massive,
Isaac Hayes,
The Offenders,
Tim Buckley,
James Chance & The Contortions,
Delon & Dalcan,
Agitation Free,
Quando Quango,
Jeff Mills,
Albert Ayler,
Essential Logic,
N.O.R.E. Featuring Pharrell,
Lightning Bolt,
MDC,
Black Pus,
The Pretty Things,
Joy Division,
Ten City,
The Fall,
The Gun Club,
Flamin' Groovies,
Qualms,
Andrew Ashong & Theo Parrish,
Mo-Dettes,
The Moleskins,
Marshall Jefferson,
The Fortunes,
Marc Almond,
A Certain Ratio,
Joe Finger,
The Index,
The Searchers,
The Leaves,
Brand Nubian,
Brass Construction,
Rekid,
Fela Kuti,
Red Lorry Yellow Lorry,
The Smoke,
Country Teasers,
The Durutti Column,
Fifty Foot Hose,
Sight & Sound,
Das Ding,
Electric Prunes,
Gastr Del Sol,
Trumans Water,
Marine Girls,
Alice Coltrane,
Anthony Braxton,
Zapp,
Pere Ubu,
Justin Hinds & The Dominoes,
Bob Dylan,
The Velvet Underground,
the Normal, the Normal, the Normal, the Normal.
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.