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 Macedonia and from Lagos.
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 1976.
I'm losing my edge.
To all the kids in Madrid and Lagos.
I'm losing my edge to the art-school Salvador 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 synthesizer 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 Pierre Henry to the dance kids.
I played it at the Roxy.
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 Deakin. All the underground hits.
All Cabaret Voltaire tracks. I heard you have a vinyl of every Kas Product record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a mellotron and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Tropical Tobacco record.
I hear that you and your band have sold your organ and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Avey Tare & Kría Brekkan,
New York Dolls,
Nico,
Kerri Chandler,
Deadbeat,
Gerry Rafferty,
Electric Light Orchestra,
Captain Beefheart & His Magic Band,
Charles Mingus,
Marshall Jefferson,
James Chance & The Contortions,
The Mighty Diamonds,
The Electric Prunes,
Art Ensemble Of Chicago,
Gang Starr,
Lower 48,
Nirvana,
Nation of Ulysses,
The Evens,
Massinfluence,
Sexual Harrassment,
The Fall,
The Sonics,
Inner City,
The Pretty Things,
Von Mondo,
Bob Dylan,
Maleditus Sound,
The Durutti Column,
Visage,
Essential Logic,
Silicon Teens,
David McCallum,
Sun Ra,
Can,
Johnny Clarke,
The Golliwogs,
Sly & The Family Stone,
Dual Sessions,
OOIOO,
Bill Near,
Boz Scaggs,
The Residents,
The Mojo Men,
The Dave Clark Five,
Notorious Big And Bone Thugs,
Quando Quango,
LL Cool J,
Grauzone,
Eric B and Rakim,
Lucky Dragons,
The Detroit Cobras,
DJ Sneak,
Alice Coltrane,
Skriet,
Morten Harket,
Crash Course in Science,
Davy DMX,
Fifty Foot Hose,
Tim Buckley,
The Index,
Sällskapet,
Fad Gadget, Fad Gadget, Fad Gadget, Fad Gadget.
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.