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 Tehran.
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 1979.
I'm losing my edge.
To all the kids in Portland and New York.
I'm losing my edge to the art-school Edmonton 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 1973 at the first Television practice in a loft in New York.
I was working on the mellotron sounds with much patience.
I was there when Tom Verlaine 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 Stooges to the punk kids.
I played it at the Astoria.
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 Essential Logic. All the underground hits.
All The American Breed tracks. I heard you have a vinyl of every Soulsonic Force record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a guitar and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Count Five,
Orchestral Manoeuvres in the Dark,
Slave,
Juan Atkins,
Kerrie Biddell,
David Bowie,
Scrapy,
Quando Quango,
Gang Gang Dance,
Anakelly,
Visionaries,LMNO, T- Love & Iriscience,
The Cosmic Jokers,
Buzzcocks,
The Remains,
Rhythim Is Rhythim,
Janne Schatter,
Black Pus,
D'Angelo,
Kurtis Blow,
Loose Ends,
Sight & Sound,
Wally Richardson,
The Birthday Party,
Vladislav Delay,
Ludus,
Arab on Radar,
Eurythmics,
Spoonie Gee,
The Wake,
Scratch Acid,
Richard Hell and the Voidoids,
Maurizio,
Cheater Slicks,
Malaria!,
Dead Boys,
Major Organ And The Adding Machine,
Jesper Dahlback,
Minutemen,
Pere Ubu,
Stockholm Monsters,
Parry Music,
Bronski Beat,
Hoover,
Unwound,
Grauzone,
Sun City Girls,
Gil Scott Heron,
Blancmange,
T. Rex,
Deakin,
Kauko Röyhkä ja Narttu,
A Certain Ratio,
The Shadows of Knight,
Simply Red,
New York Dolls,
China Crisis,
Beasts of Bourbon,
Roger Hodgson,
Lower 48,
Justin Hinds & The Dominoes,
Sandy B,
Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew, Vaughan Mason & Crew.
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.