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 Bolivia and from Edmonton.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1978.
I'm losing my edge.
To all the kids in Manchester and Copenhagen.
I'm losing my edge to the art-school Beijing 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 marimba 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 Silicon Teens to the disco kids.
I played it at CBGB's.
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 Jacques Brel. All the underground hits.
All Motorama tracks. I heard you have a vinyl of every The Star Department record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Nico record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rod Modell,
Frankie Knuckles,
The Blues Magoos,
Matthew Halsall,
Piero Umiliani,
X-101,
Minutemen,
Bauhaus,
Radio Birdman,
Gastr Del Sol,
Hasil Adkins,
Scratch Acid,
Soul II Soul,
DeepChord presents Echospace,
Kerri Chandler,
These Immortal Souls,
Icehouse,
Louis and Bebe Barron,
Fela Kuti,
A Flock of Seagulls,
Black Pus,
Joe Smooth,
The Fortunes,
The Sound,
Flash Fearless,
Lafayette Afro Rock Band,
Boz Scaggs,
Lee Hazlewood,
Scott Walker + Sunn O))),
K-Klass,
The Gladiators,
Deakin,
Jawbox,
The American Breed,
Eyeless In Gaza,
Jandek,
Ronnie Foster,
Sister Nancy,
Kevin Saunderson,
Sugar Minott,
Electric Light Orchestra,
The Neon Judgement,
T. Rex,
48th St. Collective,
The Sonics,
June of 44,
The Young Rascals,
Whodini,
Liaisons Dangereuses,
CMW,
John Lydon,
Gang Green,
Rufus Thomas,
Justin Hinds & The Dominoes,
Sad Lovers and Giants,
Kango’s Stein Massive,
Gerry Rafferty,
Michelle Simonal,
The Divine Comedy,
Al Stewart,
Dennis Brown,
Bobbi Humphrey,
James Chance & The Contortions,
Jeff Lynne, Jeff Lynne, Jeff Lynne, Jeff Lynne.
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.