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 Dominica and from Calgary.
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 1979.
I'm losing my edge.
To all the kids in Portland and Seoul.
I'm losing my edge to the art-school Delhi 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 1984 at the first Arcadia practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Robert Palmer 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 Eyeless In Gaza to the techno kids.
I played it at the Troubador.
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 In Retrospect. All the underground hits.
All Peter and Kerry tracks. I heard you have a vinyl of every Lucky Dragons record on German import.
I heard that you have a white label of every seminal electroclash 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 an organ and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Zero Boys,
Magma,
Kevin Saunderson,
The Slits,
Teenage Jesus and the Jerks,
Lower 48,
Nation of Ulysses,
Ohio Players,
Moby Grape,
Electric Prunes,
Bronski Beat,
The Smiths,
Theoretical Girls,
Blossom Toes,
The Misunderstood,
Procol Harum,
It's A Beautiful Day,
Bill Near,
Man Parrish,
Scrapy,
Ponytail,
Supertramp,
U.S. Maple,
Pete Rock & C.L. Smooth,
Ronnie Foster,
48th St. Collective,
Lonnie Liston Smith,
The Litter,
The Moody Blues,
Quadrant,
Gang Starr,
Marc Romboy vs. Booka Shade,
Deakin,
Youth Brigade,
The Dead C,
The Cramps,
Kango’s Stein Massive,
Rekid,
Eyeless In Gaza,
Lizzy Mercier Descloux,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Essential Logic,
Wings,
Amon Düül II,
FM Einheit,
Chrome,
Infiniti,
Surgeon,
Absolute Body Control,
Hasil Adkins,
Roxy Music,
Ossler,
Rufus Thomas,
Desert Stars,
Subhumans,
Khruangbin,
The Associates,
Lyres,
Throbbing Gristle,
Flipper, Flipper, Flipper, Flipper.
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.