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 Benin and from London.
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 1976.
I'm losing my edge.
To all the kids in Bremen and Mumbai.
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 mellotron 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 Eli Mardock to the disco 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 Eurythmics. All the underground hits.
All Anakelly tracks. I heard you have a vinyl of every Lou Reed record on German import.
I heard that you have a white label of every seminal crunk 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 spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
Negative Approach,
Crooked Eye,
DeepChord presents Echospace,
Max Romeo,
Barry Ungar,
Sad Lovers and Giants,
Supertramp,
Swell Maps,
UT,
Ten City,
Juan Atkins,
David Bowie,
Talk Talk,
Radio Birdman,
Franke,
Young Marble Giants,
K-Klass,
The Gap Band,
Royal Trux,
The Mighty Diamonds,
Fugazi,
Moss Icon,
Ohio Players,
Deutsch Amerikanische Freundschaft,
48th St. Collective,
Visage,
Flipper,
Erykah Badu,
Sister Nancy,
Liaisons Dangereuses,
The Real Kids,
Country Teasers,
London Community Gospel Choir,
Nils Olav,
Black Sheep,
Wally Richardson,
Banda Bassotti,
the Association,
Rhythm & Sound,
The Neon Judgement,
Dead Boys,
The Birthday Party,
Trumans Water,
Blake Baxter,
Amon Düül,
Intrusion,
Boredoms,
Red Lorry Yellow Lorry,
Brass Construction,
Kurtis Blow,
Lalann,
Soft Cell,
Panda Bear,
Idris Muhammad,
Quando Quango,
Sonic Youth,
Los Fastidios,
A Flock of Seagulls,
Marc Romboy vs. Booka Shade,
Susan Cadogan,
Eve St. Jones,
The Fugs,
Kevin Saunderson, Kevin Saunderson, Kevin Saunderson, Kevin Saunderson.
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.