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 Chile 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 1967 to 1972.
I'm losing my edge.
To all the kids in New York and Cairo.
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 spring reverb 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 The Birthday Party to the grime 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 Flamin' Groovies. All the underground hits.
All Hoover tracks. I heard you have a vinyl of every Mission of Burma record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Zero Boys record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Khruangbin,
Sight & Sound,
Soft Machine,
Henry Cow,
Arab on Radar,
The Electric Prunes,
Arthur Verocai,
Fatback Band,
Peter and Kerry,
Godley & Creme,
Teenage Jesus and the Jerks,
R.M.O.,
10cc,
the Soft Cell,
Flash Fearless,
MDC,
This Heat,
T. Rex,
Quadrant,
Parry Music,
Maurizio,
Iggy Pop,
Wings,
Letta Mbulu,
The Smiths,
Flamin' Groovies,
Silicon Teens,
Bill Wells,
Terrestrial Tones,
The Monks,
Schoolly D,
Joy Division,
Funkadelic,
The Human League,
Gian Franco Pienzio,
Shuggie Otis,
Visage,
Visionaries,LMNO, T- Love & Iriscience,
Bush Tetras,
Archie Shepp,
The Names,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Barbara Tucker,
Pierre Henry,
8 Eyed Spy,
The Dirtbombs,
Supertramp,
Black Flag,
Blake Baxter,
Scan 7,
Curtis Mayfield,
The Music Machine,
The Doors,
The Skatalites,
Cabaret Voltaire,
Bad Manners,
New York Dolls,
Lightning Bolt,
Alphaville,
Los Fastidios, Los Fastidios, Los Fastidios, Los Fastidios.
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.