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 Costa Rica and from Sao Paulo.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Mexico City and Copenhagen.
I'm losing my edge to the art-school Bologna 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the sitar 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 Erasure 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 Zapp. All the underground hits.
All Jesper Dahlbäck tracks. I heard you have a vinyl of every James White and The Blacks record on German import.
I heard that you have a white label of every seminal dance 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 guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Freddie Wadling record.
I hear that you and your band have sold your guitar and bought a 808.
I hear that you and your band have sold your 808 and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fear,
The Saints,
Stetsasonic,
Bobby Sherman,
Richard Hell and the Voidoids,
The Sound,
Monks,
In Retrospect,
Kevin Saunderson,
Aaron Thompson,
These Immortal Souls,
Cluster,
Gabor Szabo,
Ralphi Rosario,
The Modern Lovers,
Derrick May,
Neil Young,
Supertramp,
Index,
Crispian St. Peters,
The Zeros,
Nation of Ulysses,
The Neon Judgement,
The Electric Prunes,
The Cosmic Jokers,
The Monochrome Set,
Gerry Rafferty,
Public Enemy,
Neu!,
John Cale,
The Victims,
Circle Jerks,
The Seeds,
Sight & Sound,
Brass Construction,
B.T. Express,
Boz Scaggs,
Kings Of Tomorrow,
Pere Ubu,
The Golliwogs,
Tears for Fears,
Groovy Waters,
Crash Course in Science,
Guru Guru,
Fatback Band,
Anthony Braxton,
Tropical Tobacco,
Freddie Wadling,
John Coltrane,
Manfred Mann's Earth Band,
Tim Buckley,
Gong,
The Young Rascals,
The Moody Blues,
Skriet,
Toni Rubio,
Television,
Roger Hodgson,
Q65,
Yellowson,
The Angels of Light,
Lizzy Mercier Descloux,
Cecil Taylor,
Minnie Riperton, Minnie Riperton, Minnie Riperton, Minnie Riperton.
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.