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 Norway and from Columbus.
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 1965 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Portland.
I'm losing my edge to the art-school Philadelphia 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 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 The Alarm Clocks to the jazz kids.
I played it at the Spitz.
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 Suicide. All the underground hits.
All Cybotron tracks. I heard you have a vinyl of every Jacques Brel record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bizarre Inc.,
The Blues Magoos,
Orchestral Manoeuvres in the Dark,
The Five Americans,
Lucky Dragons,
Lalo Schifrin,
Tears for Fears,
Country Teasers,
EPMD,
Maleditus Sound,
Country Joe & The Fish,
Kool G Rap & DJ Polo,
Nick Cave & The Bad Seeds,
Faraquet,
X-101,
the Normal,
Grandmaster Flash and the Furious Five,
U.S. Maple,
Second Layer,
Babytalk,
Suburban Knight,
Sparks,
Boredoms,
Richard Hell and the Voidoids,
The Smoke,
Half Japanese,
Jeff Mills,
Super Lover Cee & Casanova Rud,
Dorothy Ashby,
Ossler,
Aaron Thompson,
The Standells,
Eden Ahbez,
Gil Scott Heron,
Steve Hackett,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Arthur Verocai,
Kayak,
Negative Approach,
Angels of Light & Akron/Family,
Mad Mike,
Kaleidoscope,
Kevin Saunderson,
The Last Poets,
Brothers Johnson,
Main Source,
Barbara Tucker,
Todd Rundgren,
Wighnomy Brothers & Robag Wruhme,
The Associates,
The Monochrome Set,
X-Ray Spex,
Ohio Players,
Jerry's Kids,
Infiniti,
Eurythmics,
Sound Behaviour,
Black Moon,
Mission of Burma,
Average White Band,
T. Rex,
Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's.
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.