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 Croatia and from Taipei.
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 1967 to 1975.
I'm losing my edge.
To all the kids in London and Halifax.
I'm losing my edge to the art-school Shanghai 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 chamberlin sounds with much patience.
I was there when Donald Fagen 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 disco kids.
I played it at Cafe Wha.
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 Sexual Harrassment. All the underground hits.
All Fear tracks. I heard you have a vinyl of every Marshall Jefferson record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Stereo Dub record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Seeds,
Delon & Dalcan,
Scott Walker,
Flamin' Groovies,
Blossom Toes,
Marmalade,
the Swans,
Danielle Patucci,
Sugar Minott,
The Moody Blues,
A Certain Ratio,
Eric Dolphy,
Brick,
John Lydon,
Zero Boys,
Ice-T,
Q65,
Bad Manners,
Lou Reed & John Cale,
Minnie Riperton,
Jesper Dahlbäck,
Swans,
Eric Copeland,
Bronski Beat,
Rekid,
Country Joe & The Fish,
Fat Boys,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Nik Kershaw,
Minor Threat,
Althea and Donna,
Pussy Galore,
Godley & Creme,
Model 500,
Glambeats Corp.,
These Immortal Souls,
Al Stewart,
Silicon Teens,
New Order,
New York Dolls,
Aswad,
Fort Wilson Riot,
Matthew Halsall,
Nick Cave & The Bad Seeds,
Roy Ayers Ubiquity,
Surgeon,
Section 25,
Depeche Mode,
Black Bananas,
Todd Rundgren,
Rosa Yemen,
Cymande,
Y Pants,
Blake Baxter,
The West Coast Pop Art Experimental Band,
This Heat,
Von Mondo,
Black Pus,
Bootsy's Rubber Band,
Graham Central Station,
Bush Tetras, Bush Tetras, Bush Tetras, Bush Tetras.
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.