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 Ukraine and from Manila.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Philadelphia and Jakarta.
I'm losing my edge to the art-school Stockholm 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 rhodes 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 Lee Hazlewood to the techno kids.
I played it at the Astoria.
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 Animal Collective. All the underground hits.
All Kas Product tracks. I heard you have a vinyl of every The Golliwogs record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Theoretical Girls record.
I hear that you and your band have sold your clarinet and bought a 808.
I hear that you and your band have sold your 808 and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter Gordon & Love of Life Orchestra,
The J.B.'s,
X-101,
Echospace,
Aural Exciters,
Kaleidoscope,
The Knickerbockers,
Lou Reed & Metallica,
The Sound,
The Index,
Camberwell Now,
Country Joe & The Fish,
Heaven 17,
the Slits,
Teenage Jesus and the Jerks,
Tears for Fears,
Selector Dub Narcotic,
Eurythmics,
Heavy D & The Boyz,
Monks,
The Remains,
Country Teasers,
Malaria!,
CMW,
Prince Buster,
Yaz,
48th St. Collective,
Marmalade,
Lou Reed & John Cale,
Rhythm & Sound,
Gichy Dan,
The Victims,
Motorama,
Bobby Sherman,
Be Bop Deluxe,
EPMD,
The Wake,
Mr. Review,
Harmonia,
Main Source,
Bobby Hutcherson,
Fugazi,
Throbbing Gristle,
Ponytail,
AZ,
Soul Sonic Force,
The Zeros,
The Evens,
the Swans,
Don Cherry,
Stockholm Monsters,
Gary Puckett & The Union Gap,
Suicide,
Robert Görl,
Soft Cell,
Ronan,
Gong,
Archie Shepp,
Erasure,
Ossler, Ossler, Ossler, Ossler.
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.