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 Honduras and from Philadelphia.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Houston and Beijing.
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 mellotron 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 The Beau Brummels to the grime kids.
I played it at CBGB's.
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 James Chance & The Contortions. All the underground hits.
All Severed Heads tracks. I heard you have a vinyl of every One Last Wish 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 '70s.
I hear you're buying a theremin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Junior Murvin record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
ABC,
The Shadows of Knight,
Richard Hell and the Voidoids,
David Axelrod,
Art Ensemble Of Chicago,
Charles Mingus,
Spandau Ballet,
Rosa Yemen,
Matthew Halsall,
The Gun Club,
The Pop Group,
Soft Machine,
Mars,
Orchestral Manoeuvres in the Dark,
John Cale,
Rapeman,
Bronski Beat,
Jawbox,
Minnie Riperton,
Jesper Dahlback,
Flamin' Groovies,
Mandrill,
Camberwell Now,
Symarip,
The Gap Band,
The Smiths,
Jesper Dahlbäck,
the Slits,
Robert Görl,
Harry Pussy,
Cecil Taylor,
Lou Christie,
Gregory Isaacs,
Babytalk,
Black Sheep,
The Monochrome Set,
Camron Feat. Jay Z And Juelz,
Gastr Del Sol,
Agitation Free,
Skarface,
Cluster,
Don Cherry,
The Golliwogs,
The Slits,
The Selecter,
Alphaville,
Intrusion,
Dual Sessions,
Brass Construction,
Slave,
Kerrie Biddell,
Joensuu 1685,
Zapp,
Kas Product,
Tomorrow,
Bobby Womack,
Sällskapet,
Rowland S Howard / Lydia Lunch,
Flash Fearless,
Jacob Miller,
Sonic Youth,
R.M.O., R.M.O., R.M.O., R.M.O..
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.