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 Uruguay and from Manchester.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Manchester and Portland.
I'm losing my edge to the art-school Portland 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 mellotron sounds with much patience.
I was there when Tom Verlaine 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 Richard Hell and the Voidoids to the grime kids.
I played it at the Astoria.
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 Monolake tracks. I heard you have a vinyl of every Infiniti record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Hasil Adkins record.
I hear that you and your band have sold your snare and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Delta 5,
Royal Trux,
Toni Rubio,
Terror Squad Feat. Camron,
Franke,
Monks,
The Shadows of Knight,
Bang On A Can,
Maleditus Sound,
Nas,
The Music Machine,
the Sonics,
10cc,
Super Lover Cee & Casanova Rud,
Rekid,
Dave Gahan,
Judy Mowatt,
Lungfish,
June Days,
Nik Kershaw,
Talk Talk,
Dennis Brown,
DJ Style,
Saccharine Trust,
The Techniques,
Popol Vuh,
Ludus,
Traffic Nightmare,
Eric Copeland,
The Names,
Deakin,
Siouxsie and the Banshees,
Amon Düül II,
The Count Five,
Jeru the Damaja,
Hoover,
Robert Wyatt,
The Seeds,
Jesper Dahlbäck,
Sällskapet,
Audionom,
The Gap Band,
Banda Bassotti,
Lou Reed & Metallica,
Orchestral Manoeuvres in the Dark,
Barclay James Harvest,
DeepChord presents Echospace,
Marcia Griffiths,
Stockholm Monsters,
Susan Cadogan,
Idris Muhammad,
Johnny Clarke,
Bush Tetras,
Chris Corsano,
Little Man,
The Gladiators,
Louis and Bebe Barron,
Oppenheimer Analysis,
The Young Rascals,
Eurythmics,
Letta Mbulu,
Mantronix,
Larry & the Blue Notes,
Tim Buckley, Tim Buckley, Tim Buckley, Tim Buckley.
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.