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 Zimbabwe and from Copenhagen.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and Bologna.
I'm losing my edge to the art-school Jakarta 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 sitar 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 Absolute Body Control to the disco kids.
I played it at Cafe Wha.
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 Minutemen. All the underground hits.
All Arab on Radar tracks. I heard you have a vinyl of every Deepchord record on German import.
I heard that you have a white label of every seminal punk 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 chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance 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?
Ossler,
Howard Jones,
Johnny Clarke,
Fatback Band,
UT,
Interpol,
Scott Walker,
Morten Harket,
Kauko Röyhkä ja Narttu,
The Evens,
Bobbi Humphrey,
Terrestrial Tones,
In Retrospect,
Lou Reed & Metallica,
Boogie Down Productions,
Sparks,
Pole,
the Soft Cell,
Depeche Mode,
Yellowson,
Sun Ra,
Procol Harum,
Rekid,
Spandau Ballet,
The Real Kids,
DeepChord presents Echospace,
Louis and Bebe Barron,
Skaos,
Hot Snakes,
Gil Scott-Heron & Brian Jackson,
Gang Gang Dance,
Rhythim Is Rhythim,
Throbbing Gristle,
Crispy Ambulance,
Average White Band,
Cecil Taylor,
Gregory Isaacs,
The Move,
Marvin Gaye,
The Wake,
Brass Construction,
R.M.O.,
Harpers Bizarre,
Lalo Schifrin,
Idris Muhammad,
The Martian,
Cabaret Voltaire,
Soul Sonic Force,
U.S. Maple,
The Fuzztones,
The Flesh Eaters,
The Durutti Column,
Crime,
Sonny Sharrock,
Von Mondo,
Alice Coltrane,
Eli Mardock,
FM Einheit,
Derrick May, Derrick May, Derrick May, Derrick May.
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.