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 Kiribati and from Lille.
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 1979.
I'm losing my edge.
To all the kids in Philadelphia and Shanghai.
I'm losing my edge to the art-school Taipei 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 arpeggiator 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 Suicide to the grunge 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 The Move. All the underground hits.
All The Buckinghams tracks. I heard you have a vinyl of every H. Thieme record on German import.
I heard that you have a white label of every seminal rap 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 sitar and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Arthur Verocai record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Anakelly,
AZ,
The Sisters of Mercy,
Robert Wyatt,
Stiv Bators,
Kerri Chandler,
Pere Ubu,
Kool Moe Dee,
Grauzone,
Roy Ayers Ubiquity,
Cabaret Voltaire,
Theoretical Girls,
Sonny Sharrock,
Arthur Verocai,
The Invisible,
Bill Near,
Hardrive,
Glambeats Corp.,
Gichy Dan,
Delon & Dalcan,
Schoolly D,
The Index,
Jeru the Damaja,
Depeche Mode,
The Toasters,
The Mojo Men,
Amon Düül II,
Yusef Lateef,
Isaac Hayes,
New Order,
Lower 48,
Loose Ends,
E-Dancer,
Unwound,
Kevin Saunderson,
Quando Quango,
Royal Trux,
The Offenders,
Eyeless In Gaza,
Lizzy Mercier Descloux,
Be Bop Deluxe,
Lungfish,
Ituana,
Surgeon,
Matthew Halsall,
Andrew Hill,
A Flock of Seagulls,
Patti Smith,
Freddie Wadling,
Bauhaus,
The Searchers,
Matthew Bourne,
The United States of America,
The Blues Magoos,
Siouxsie and the Banshees,
Minnie Riperton,
DNA,
cv313,
Dual Sessions,
Lyres,
Traffic Nightmare,
Reuben Wilson,
Ronnie Foster, Ronnie Foster, Ronnie Foster, Ronnie Foster.
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.