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 Greece and from New York.
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 1962 to 1970.
I'm losing my edge.
To all the kids in New York and Manchester.
I'm losing my edge to the art-school Stockholm 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 arpeggiator sounds with much patience.
I was there when David Bowie 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 Victims to the dance kids.
I played it at Cafe Wha.
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 Interpol. All the underground hits.
All Stiv Bators tracks. I heard you have a vinyl of every Al Stewart 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 '50s cut and another box set from the '90s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your clarinet and bought a güiro.
I hear that you and your band have sold your güiro and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Audionom,
Sixth Finger,
ABC,
Blossom Toes,
Adolescents,
Idris Muhammad,
Jacob Miller,
Stockholm Monsters,
Half Japanese,
Neil Young & Crazy Horse,
The Real Kids,
Gabor Szabo,
The Men They Couldn't Hang,
Drexciya,
Eric B and Rakim,
Matthew Bourne,
Underground Resistance,
Minutemen,
Oneida,
LL Cool J,
Eden Ahbez,
Crash Course in Science,
Kenny Larkin,
Skarface,
The Residents,
Roy Ayers,
ABBA,
Hardrive,
Lizzy Mercier Descloux,
Dorothy Ashby,
Technova,
Scott Walker,
The Jesus and Mary Chain,
Scott Walker + Sunn O))),
Spandau Ballet,
Mars,
Tropical Tobacco,
Faraquet,
Dead Boys,
Grandmaster Flash and the Furious Five,
Easy Going,
The Motions,
Arcadia,
Ultra Naté,
The Birthday Party,
Fort Wilson Riot,
The Seeds,
Ajijia Myrayebe,
David Axelrod,
The Evens,
X-101,
Sly & The Family Stone,
Lafayette Afro Rock Band,
Smog,
Crime,
Quando Quango,
Essential Logic,
Supertramp,
The Beau Brummels,
Magma,
Major Organ And The Adding Machine,
The Sound,
Newcleus, Newcleus, Newcleus, Newcleus.
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.