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 Samoa and from Woodstock.
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 1979.
I'm losing my edge.
To all the kids in Houston and Cairo.
I'm losing my edge to the art-school Copenhagen 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 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 X-102 to the grime kids.
I played it at the Crocodile.
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 Gian Franco Pienzio. All the underground hits.
All a-ha tracks. I heard you have a vinyl of every Bauhaus record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Althea and Donna record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tears for Fears,
Average White Band,
Carl Craig,
The Fortunes,
Glambeats Corp.,
The Fall,
Negative Approach,
The Slackers,
Sällskapet,
U.S. Maple,
Q and Not U,
Loose Ends,
Liliput,
Kerri Chandler,
Absolute Body Control,
Neil Young,
Public Enemy,
Marc Almond,
Grandmaster Flash,
Bang On A Can,
Strawberry Alarm Clock,
Althea and Donna,
Half Japanese,
Unrelated Segments,
Desert Stars,
Lindisfarne,
Ponytail,
Andrew Hill,
Flipper,
Television,
The Five Americans,
James Chance & The Contortions,
Alton Ellis,
Freddie Wadling,
London Community Gospel Choir,
Radiohead,
Robert Görl,
Isaac Hayes,
The Peanut Butter Conspiracy,
Delta 5,
Orchestral Manoeuvres in the Dark,
Bill Near,
Letta Mbulu,
Nirvana,
a-ha,
Magazine,
Roxette,
The Vogues,
Yusef Lateef,
DeepChord presents Echospace,
The Saints,
Thompson Twins,
MDC,
Fifty Foot Hose,
Lightning Bolt,
Lee Hazlewood,
David Axelrod,
The Mojo Men,
Donald Byrd,
Piero Umiliani,
Barrington Levy,
The Wake,
Kayak, Kayak, Kayak, Kayak.
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.