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 St Lucia and from Philadelphia.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Cairo and Tehran.
I'm losing my edge to the art-school Winnipeg 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the spring reverb 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 James Chance & The Contortions to the jazz kids.
I played it at the Roxy.
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 Lower 48. All the underground hits.
All Subhumans tracks. I heard you have a vinyl of every Marc Almond 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 '70s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Rites of Spring record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
The Moleskins,
Section 25,
London Community Gospel Choir,
Moby Grape,
John Foxx,
Jawbox,
The Grass Roots,
Skaos,
Index,
Newcleus,
The Knickerbockers,
Joy Division,
ABBA,
Patti Smith,
Guru Guru,
Cameo,
Rekid,
Swell Maps,
Stiv Bators,
Justin Hinds & The Dominoes,
Electric Light Orchestra,
Terry Callier,
Minnie Riperton,
Heaven 17,
Tim Buckley,
Harmonia,
A Flock of Seagulls,
The Fugs,
Suburban Knight,
Das Ding,
Derrick Morgan,
Boredoms,
Procol Harum,
Warren Ellis,
Kerri Chandler,
Mark Hollis,
Infiniti,
The Smiths,
Josef K,
Siglo XX,
Isaac Hayes,
Fat Boys,
Rod Modell,
Eurythmics,
Jerry Gold Smith,
The Count Five,
Roy Ayers Ubiquity,
Nick Fraelich,
Television,
Nils Olav,
Roxette,
Fluxion,
X-101,
Blake Baxter,
The Dead C,
Skriet,
the Bar-Kays,
John Lydon,
Louis and Bebe Barron,
Qualms,
Au Pairs, Au Pairs, Au Pairs, Au Pairs.
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.