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 Romania and from Hong Kong.
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 1972.
I'm losing my edge.
To all the kids in Manchester and Manchester.
I'm losing my edge to the art-school Bremen 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the marimba 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 Piero Umiliani to the rock kids.
I played it at the Crocodile.
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 Terrestrial Tones. All the underground hits.
All Tropical Tobacco tracks. I heard you have a vinyl of every Captain Beefheart & His Magic Band record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Iggy Pop record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gun Club,
The Skatalites,
DNA,
Saccharine Trust,
Little Man,
A Certain Ratio,
Pere Ubu,
The Index,
A Flock of Seagulls,
Janne Schatter,
The Invisible,
The Mummies,
The Fortunes,
Yusef Lateef,
Nation of Ulysses,
Peter & Gordon,
Cabaret Voltaire,
Guru Guru,
Alison Limerick,
The Seeds,
Roy Ayers Ubiquity,
Eric B and Rakim,
The Alarm Clocks,
Masters at Work,
Yaz,
Fear,
The Fuzztones,
Rod Modell,
Eric Copeland,
Teenage Jesus and the Jerks,
The Monks,
In Retrospect,
Stockholm Monsters,
Gil Scott-Heron and Jamie xx,
Liaisons Dangereuses,
Eyeless In Gaza,
Massinfluence,
Derrick May,
Aaron Thompson,
Bobby Hutcherson,
X-Ray Spex,
Rosa Yemen,
Man Parrish,
Wolf Eyes,
Isaac Hayes,
Sun Ra Arkestra,
Urselle,
Bizarre Inc.,
Anakelly,
Heaven 17,
Max Romeo,
Leonard Cohen,
Don Cherry,
Vainqueur,
Marmalade,
Ossler,
Gary Puckett & The Union Gap,
Boogie Down Productions,
The Blackbyrds,
The Human League,
The West Coast Pop Art Experimental Band,
Bush Tetras,
Groovy Waters, Groovy Waters, Groovy Waters, Groovy Waters.
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.