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 Austria and from Taipei.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1978.
I'm losing my edge.
To all the kids in Jakarta and Lille.
I'm losing my edge to the art-school Shanghai 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 harpsichord sounds with much patience.
I was there when Donald Fagen 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 Sad Lovers and Giants to the disco kids.
I played it at the Spitz.
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 Connie Case. All the underground hits.
All Pet Shop Boys tracks. I heard you have a vinyl of every Funkadelic record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a snare and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Velvet Underground record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Order,
Stetsasonic,
Rufus Thomas,
The Knickerbockers,
Interpol,
Ralphi Rosario,
Crash Course in Science,
Jerry's Kids,
Colin Newman,
Stereo Dub,
Alison Limerick,
Maleditus Sound,
Cheater Slicks,
Main Source,
Country Teasers,
Accadde A,
The Wake,
Althea and Donna,
Nas,
Eyeless In Gaza,
Qualms,
Grandmaster Flash,
Zapp,
The Selecter,
Neu!,
Man Parrish,
Drexciya,
The Gap Band,
The Dead C,
The Buckinghams,
Trumans Water,
John Lydon,
Supertramp,
Byron Stingily,
Absolute Body Control,
Avey Tare & Kría Brekkan,
Sister Nancy,
Flash Fearless,
Cal Tjader,
Sad Lovers and Giants,
Ronan,
Derrick May,
X-Ray Spex,
DNA,
The Fall,
Pulsallama,
UT,
Janne Schatter,
AZ,
Tres Demented,
Matthew Halsall,
Jeff Lynne,
F. McDonald,
8 Eyed Spy,
Sixth Finger,
Deakin,
Theoretical Girls,
Dead Boys,
Echospace,
Spoonie Gee, Spoonie Gee, Spoonie Gee, Spoonie Gee.
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.