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 Kuwait and from New York.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1979.
I'm losing my edge.
To all the kids in Copenhagen and Portland.
I'm losing my edge to the art-school Jakarta 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 guitar sounds with much patience.
I was there when Lou Reed 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 Outsiders 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 Harry Pussy. All the underground hits.
All Eden Ahbez tracks. I heard you have a vinyl of every Roxette 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 '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Foxx,
David Axelrod,
The Fall,
Mark Hollis,
Country Joe & The Fish,
Nick Cave & The Bad Seeds,
Bauhaus,
Grauzone,
Jandek,
Procol Harum,
AZ,
Rekid,
The Wake,
Cluster,
Avey Tare's Slasher Flicks,
Underground Resistance,
Tommy Roe,
Aaron Thompson,
Sixth Finger,
Marc Almond,
Nico,
CMW,
Wasted Youth,
F. McDonald,
The Martian,
James White and The Blacks,
the Bar-Kays,
Khruangbin,
The Litter,
Ultramagnetic MC's,
Avey Tare,
The Neon Judgement,
Supertramp,
The Gladiators,
Dawn Penn,
Kango’s Stein Massive,
Lizzy Mercier Descloux,
Zero Boys,
Absolute Body Control,
New Age Steppers,
The Black Dice,
Vladislav Delay,
Rhythim Is Rhythim,
The Walker Brothers,
ABC,
Reuben Wilson,
Roy Ayers Ubiquity,
Andrew Ashong & Theo Parrish,
The Saints,
Japan,
The Smoke,
Lebanon Hanover,
The Techniques,
Eurythmics,
Dave Gahan,
Chris Corsano,
The Peanut Butter Conspiracy,
Mo-Dettes,
Pantytec,
the Soft Cell,
Gang Green,
Pantaleimon,
Drive Like Jehu,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.