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 Rwanda and from Houston.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Lille and Delhi.
I'm losing my edge to the art-school Cairo 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 güiro 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 Freddie Wadling to the punk 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 Reagan Youth. All the underground hits.
All James Chance & The Contortions tracks. I heard you have a vinyl of every Country Joe & The Fish record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an organ and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Organ record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bob Dylan,
Quantec,
Dawn Penn,
Public Image Ltd.,
Gil Scott Heron,
R.M.O.,
Eric Copeland,
La Düsseldorf,
Pulsallama,
Little Man,
Kool Moe Dee,
Main Source,
Marvin Gaye,
Alphaville,
Sunsets and Hearts,
Patti Smith,
Dorothy Ashby,
Carl Craig,
B.T. Express,
Shoche,
Wings,
The Selecter,
The Remains,
T. Rex,
Glenn Branca,
DJ Style,
Icehouse,
Derrick Morgan,
D'Angelo,
Marc Almond,
Nils Olav,
Peter Gordon & Love of Life Orchestra,
Robert Hood,
Swans,
Throbbing Gristle,
The Gories,
Von Mondo,
Joey Negro,
Siglo XX,
Basic Channel,
ABC,
Skarface,
Flamin' Groovies,
The Evens,
The Barracudas,
Desert Stars,
Brass Construction,
Sandy B,
Super Lover Cee & Casanova Rud,
The Electric Prunes,
Sugar Minott,
Trumans Water,
Mo-Dettes,
The Mighty Diamonds,
Severed Heads,
Alison Limerick,
Traffic Nightmare,
Agitation Free,
Eric B and Rakim,
Quando Quango,
Frankie Knuckles,
Sam Rivers,
Panda Bear,
These Immortal Souls, These Immortal Souls, These Immortal Souls, These Immortal Souls.
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.