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 Kenya and from Milan.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Lagos and Madrid.
I'm losing my edge to the art-school Houston 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 synthesizer sounds with much patience.
I was there when Robert Palmer 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 This Heat to the grunge kids.
I played it at the Roxy.
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 Peter and Kerry. All the underground hits.
All Popol Vuh tracks. I heard you have a vinyl of every Ponytail record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a CMW record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Danielle Patucci,
Can,
Rakim,
Maurizio,
The Divine Comedy,
Television Personalities,
Prince Buster,
The Birthday Party,
Circle Jerks,
Brand Nubian,
Yellowson,
Davy DMX,
Marc Romboy vs. Booka Shade,
Shuggie Otis,
Marshall Jefferson,
Letta Mbulu,
Bush Tetras,
Panda Bear,
Gil Scott-Heron and Jamie xx,
The Walker Brothers,
Dark Day,
Flash Fearless,
Todd Terry,
Ossler,
The Searchers,
Janne Schatter,
Rahsaan Roland Kirk,
Tommy Roe,
Larry & the Blue Notes,
Parry Music,
Sonny Sharrock,
Morten Harket,
Excepter,
Gerry Rafferty,
Cabaret Voltaire,
the Swans,
June Days,
Faust,
Marc Almond,
Lakeside,
Barry Ungar,
10cc,
Harry Pussy,
Peter and Kerry,
Lafayette Afro Rock Band,
Fear,
Maleditus Sound,
John Coltrane,
Juan Atkins,
The Fire Engines,
Joe Finger,
The Moody Blues,
The Motions,
Delon & Dalcan,
Grandmaster Flash,
the Germs,
Mission of Burma,
Neil Young & Crazy Horse,
Skarface, Skarface, Skarface, Skarface.
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.