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 Hungary and from Hong Kong.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1972.
I'm losing my edge.
To all the kids in Lille and Philadelphia.
I'm losing my edge to the art-school Lille 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 Peter and Kerry to the grunge kids.
I played it at the Hacienda.
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 Association. All the underground hits.
All The Vogues tracks. I heard you have a vinyl of every Deadbeat record on German import.
I heard that you have a white label of every seminal funk 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 a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Modern Lovers record.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James White and The Blacks,
Lower 48,
T.S.O.L.,
Jacques Brel,
Cecil Taylor,
the Association,
Aural Exciters,
Simply Red,
The Saints,
It's A Beautiful Day,
Trumans Water,
Patti Smith,
Crime,
Jerry Gold Smith,
Tubeway Army,
H. Thieme,
Albert Ayler,
Echospace,
Duran Duran,
Slave,
Darondo,
Al Stewart,
Sad Lovers and Giants,
Tommy Roe,
Mark Hollis,
Warren Ellis,
Jeff Mills,
Gil Scott-Heron & Brian Jackson,
Rakim,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Eurythmics,
Rites of Spring,
Panda Bear,
Jeff Lynne,
Cluster,
Eric B and Rakim,
Peter Gordon & Love of Life Orchestra,
Soft Cell,
ABC,
James Chance & The Contortions,
Lou Reed,
The Smiths,
The Walker Brothers,
Minor Threat,
The Motions,
Wasted Youth,
Chrome,
Thinking Fellers Union Local 282,
Juan Atkins,
the Normal,
Second Layer,
Junior Murvin,
Oppenheimer Analysis,
Lizzy Mercier Descloux,
Tres Demented,
Tom Boy,
Sight & Sound,
The Index,
Dorothy Ashby,
Cal Tjader,
The Kinks, The Kinks, The Kinks, The Kinks.
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.