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 Armenia and from Paris.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Tokyo.
I'm losing my edge to the art-school Philadelphia 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 1978 at the first Visage practice in a loft in London.
I was working on the chamberlin 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 Scott Walker to the disco 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 Sarah Menescal. All the underground hits.
All Patti Smith tracks. I heard you have a vinyl of every Outsiders record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an oboe and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Cabaret Voltaire record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cameo,
The Move,
Model 500,
Soft Machine,
Harmonia,
Bootsy's Rubber Band,
The Sisters of Mercy,
Rapeman,
Girls At Our Best!,
The Monks,
Godley & Creme,
Robert Görl,
Fifty Foot Hose,
Urselle,
Letta Mbulu,
Theoretical Girls,
Wings,
Vaughan Mason & Crew,
Quadrant,
DJ Style,
The Zeros,
Cabaret Voltaire,
Amon Düül,
Be Bop Deluxe,
Flash Fearless,
Barrington Levy,
Symarip,
Eddi Front,
Brass Construction,
Mars,
Lee Hazlewood,
Interpol,
The Barracudas,
China Crisis,
David McCallum,
EPMD,
Crispian St. Peters,
Graham Central Station,
Anthony Braxton,
Byron Stingily,
The Index,
Outsiders,
AZ,
Max Romeo,
Andrew Hill,
Heaven 17,
The Smoke,
Simply Red,
Inner City,
Matthew Halsall,
Vladislav Delay,
Camron Feat. Memphis Bleek And Beenie Seigel,
Malaria!,
Bobby Hutcherson,
Skaos,
Gang of Four,
Pete Rock & C.L. Smooth,
Visage,
Supertramp,
MC5,
Kerri Chandler,
Jawbox, Jawbox, Jawbox, Jawbox.
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.