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 Australia and from Delhi.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1976.
I'm losing my edge.
To all the kids in Shanghai and Johannesburg.
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 Selda practice in a loft in Istanbul.
I was working on the synthesizer 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 MC5 to the rock kids.
I played it at the 40 Watt.
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 Al Stewart. All the underground hits.
All David Axelrod tracks. I heard you have a vinyl of every Hot Snakes record on German import.
I heard that you have a white label of every seminal electroclash 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 synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your mellotron and bought a guitar.
I hear that you and your band have sold your guitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Beasts of Bourbon,
Flamin' Groovies,
the Normal,
Sun Ra,
The Blackbyrds,
Essential Logic,
Louis and Bebe Barron,
The Young Rascals,
Quadrant,
Reagan Youth,
Gian Franco Pienzio,
Lyres,
Ultra Naté,
One Last Wish,
Hoover,
Robert Wyatt,
Max Romeo,
Ponytail,
Public Image Ltd.,
Whodini,
DNA,
Yellowson,
The Names,
The Peanut Butter Conspiracy,
The Pretty Things,
Bizarre Inc.,
Suburban Knight,
Lalann,
Ash Ra Tempel,
Reuben Wilson,
Inner City,
Black Flag,
Sarah Menescal,
Larry & the Blue Notes,
The Shadows of Knight,
Maleditus Sound,
Public Enemy,
Siglo XX,
FM Einheit,
Vaughan Mason & Crew,
Marc Romboy vs. Booka Shade,
Marine Girls,
Al Stewart,
Malaria!,
Lee Hazlewood,
June of 44,
The Music Machine,
The Count Five,
Y Pants,
Lafayette Afro Rock Band,
Neil Young & Crazy Horse,
the Bar-Kays,
Stockholm Monsters,
Ultimate Spinach,
the Association,
Motorama,
Avey Tare's Slasher Flicks,
Trumans Water,
Khruangbin,
Idris Muhammad,
Kool G Rap & DJ Polo,
John Foxx,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.