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 Vietnam and from Paris.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Beijing and Salvador.
I'm losing my edge to the art-school Manchester 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 linndrum sounds with much patience.
I was there when Captain Beefheart 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 a-ha to the crunk kids.
I played it at the Spitz.
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 B.T. Express. All the underground hits.
All Siouxsie and the Banshees tracks. I heard you have a vinyl of every Roger Hodgson 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 '80s cut and another box set from the '90s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Altered Images,
The West Coast Pop Art Experimental Band,
Bauhaus,
Ten City,
UT,
Faraquet,
PIL,
Scott Walker,
Sad Lovers and Giants,
Niagra,
The United States of America,
Red Lorry Yellow Lorry,
Bobby Hutcherson,
Howard Jones,
Louis and Bebe Barron,
A Flock of Seagulls,
Peter Gordon & Love of Life Orchestra,
Black Sheep,
Oppenheimer Analysis,
the Soft Cell,
Jacques Brel,
Heaven 17,
Jeff Lynne,
the Fania All-Stars,
The J.B.'s,
Terrestrial Tones,
James White and The Blacks,
Rotary Connection,
World's Most,
Skriet,
Eric Dolphy,
The Toasters,
Electric Light Orchestra,
Flipper,
Ash Ra Tempel,
Siglo XX,
Heavy D & The Boyz,
Q65,
Excepter,
Marine Girls,
The Black Dice,
Thompson Twins,
John Lydon,
Althea and Donna,
Barry Ungar,
Blancmange,
The Busters,
Section 25,
De La Soul & Jungle Brothers,
Dr. Dre and Snoop Doggy Dog,
Roxette,
the Human League,
Gian Franco Pienzio,
Magazine,
The Victims,
New York Dolls,
The Saints,
Groovy Waters,
Juan Atkins,
Das Ding,
The Blackbyrds,
Unwound,
E-Dancer,
Marmalade,
Wally Richardson, Wally Richardson, Wally Richardson, Wally Richardson.
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.