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 Turkey and from Mumbai.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1967 to 1976.
I'm losing my edge.
To all the kids in Tehran and Salvador.
I'm losing my edge to the art-school Shanghai 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 theremin 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 Circle Jerks to the grime kids.
I played it at CBGB's.
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 The Divine Comedy. All the underground hits.
All Nik Kershaw tracks. I heard you have a vinyl of every New Age Steppers record on German import.
I heard that you have a white label of every seminal funk 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 a snare and are throwing your macbook out the window because you want to make something real. You want to make a London Community Gospel Choir record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantytec,
The Jesus and Mary Chain,
Kaleidoscope,
Interpol,
The Techniques,
Lonnie Liston Smith,
H. Thieme,
Thinking Fellers Union Local 282,
Kerri Chandler,
Scratch Acid,
E-Dancer,
Dark Day,
Bluetip,
Pulsallama,
Wasted Youth,
Visage,
Beasts of Bourbon,
Angels of Light & Akron/Family,
Bizarre Inc.,
Morten Harket,
Bill Wells,
The Kinks,
Black Flag,
Sexual Harrassment,
the Association,
La Düsseldorf,
the Fania All-Stars,
Glambeats Corp.,
Janne Schatter,
James White and The Blacks,
Grandmaster Flash,
The Misunderstood,
Tres Demented,
The Dead C,
Accadde A,
Bang on a Can All-Stars,
Blancmange,
Sex Pistols,
Crooked Eye,
Half Japanese,
Faraquet,
London Community Gospel Choir,
Masters at Work,
Sixth Finger,
Ten City,
Sly & The Family Stone,
Ajijia Myrayebe,
LL Cool J,
The Alarm Clocks,
Peter and Kerry,
The Doors,
Lafayette Afro Rock Band,
Barclay James Harvest,
The Fortunes,
Deutsch Amerikanische Freundschaft,
The Dave Clark Five,
Nation of Ulysses,
Traffic Nightmare,
Gastr Del Sol,
Fela Kuti,
Moby Grape,
Sandy B, Sandy B, Sandy B, Sandy B.
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.