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 Syria and from Bologna.
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 1969 to 1975.
I'm losing my edge.
To all the kids in Mumbai and Edmonton.
I'm losing my edge to the art-school Lille 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 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 Mark Hollis 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 The Gladiators. All the underground hits.
All Grey Daturas tracks. I heard you have a vinyl of every Negative Approach record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Metal Thangz record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deakin,
David Axelrod,
The Sound,
Q65,
The Fire Engines,
Minutemen,
the Human League,
Captain Beefheart & His Magic Band,
Whodini,
Cameo,
Jesper Dahlbäck,
Teenage Jesus and the Jerks,
Dead Boys,
Robert Wyatt,
Con Funk Shun,
Sixth Finger,
The Divine Comedy,
Notorious Big And Bone Thugs,
Ten City,
The Standells,
Lakeside,
Ronan,
Delon & Dalcan,
Jacob Miller,
Absolute Body Control,
Fat Boys,
DeepChord presents Echospace,
X-101,
Rites of Spring,
Excepter,
Erykah Badu,
The Monochrome Set,
Infiniti,
The Remains,
The Stooges,
The Blues Magoos,
Schoolly D,
The Tremeloes,
The Detroit Cobras,
Camron Feat. Jay Z And Juelz,
Ajijia Myrayebe,
The Dirtbombs,
Avey Tare's Slasher Flicks,
MC5,
Matthew Halsall,
Roger Hodgson,
June of 44,
Sad Lovers and Giants,
ABC,
Quando Quango,
Todd Rundgren,
The Fugs,
Model 500,
The Smiths,
The Victims,
The Offenders,
Soft Cell,
This Heat,
The Dead C, The Dead C, The Dead C, The Dead C.
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.