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 Libya and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Tokyo and Shanghai.
I'm losing my edge to the art-school London 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 harpsichord 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 Dead Boys to the techno 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 Bobby Byrd. All the underground hits.
All Vladislav Delay tracks. I heard you have a vinyl of every Angels of Light & Akron/Family record on German import.
I heard that you have a white label of every seminal grunge 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 güiro and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Faraquet record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Birthday Party,
Hardrive,
Kauko Röyhkä ja Narttu,
OOIOO,
Strawberry Alarm Clock,
Skaos,
Pharaoh Sanders and the Fire Engines,
Aswad,
Bush Tetras,
Traffic Nightmare,
Zero Boys,
Minor Threat,
Wally Richardson,
Dennis Brown,
Oneida,
JFA,
Heavy D & The Boyz,
Liaisons Dangereuses,
Black Sheep,
Jerry's Kids,
T.S.O.L.,
Loose Ends,
A Flock of Seagulls,
Avey Tare's Slasher Flicks,
Lucky Dragons,
Rhythim Is Rhythim,
Minnie Riperton,
Avey Tare & Kría Brekkan,
Graham Central Station,
Q65,
Cal Tjader,
Rekid,
Brothers Johnson,
Moss Icon,
Deadbeat,
Ohio Players,
The Human League,
The Black Dice,
Fat Boys,
Eve St. Jones,
Pagans,
Althea and Donna,
Ossler,
Thompson Twins,
Sandy B,
Andrew Ashong & Theo Parrish,
The Walker Brothers,
Terror Squad Feat. Camron,
Maurizio,
Lyres,
Accadde A,
Bill Near,
Talk Talk,
The Sisters of Mercy,
Grandmaster Flash and the Furious Five,
Arab on Radar,
Wire,
Ornette Coleman,
Rites of Spring,
Michelle Simonal,
Davy DMX,
Crime, Crime, Crime, Crime.
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.