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 Senegal and from Spokane.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Delhi and Philadelphia.
I'm losing my edge to the art-school Tokyo 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the güiro 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 Nik Kershaw to the rap 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 Moby Grape. All the underground hits.
All Marc Almond tracks. I heard you have a vinyl of every Model 500 record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Boogie Down Productions record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Offenders,
Camberwell Now,
Ossler,
Magazine,
Mad Mike,
Danielle Patucci,
Kauko Röyhkä ja Narttu,
Harry Pussy,
Khruangbin,
Joy Division,
Scion,
Yaz,
The Leaves,
The Seeds,
Aaron Thompson,
The Star Department,
Motorama,
The Mojo Men,
Thompson Twins,
Eve St. Jones,
Heavy D & The Boyz,
Soul II Soul,
Reagan Youth,
Sparks,
The Blues Magoos,
Saccharine Trust,
Agent Orange,
Gil Scott Heron,
Pharoah Sanders,
Girls At Our Best!,
Urselle,
Ultravox,
Swans,
Dawn Penn,
Patti Smith,
Darondo,
New York Dolls,
Mission of Burma,
The Skatalites,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Eric B and Rakim,
Scan 7,
The Modern Lovers,
Oblivians,
Derrick May,
The Knickerbockers,
Josef K,
Nation of Ulysses,
Electric Prunes,
Man Eating Sloth,
Flash Fearless,
Public Image Ltd.,
The Victims,
Letta Mbulu,
Public Enemy,
Ponytail,
The Remains,
This Heat,
The Pop Group,
Surgeon,
Alton Ellis, Alton Ellis, Alton Ellis, Alton Ellis.
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.