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 Uganda and from Accra.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1961 to 1975.
I'm losing my edge.
To all the kids in Woodstock and Milan.
I'm losing my edge to the art-school Philadelphia 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Hasil Adkins to the grunge kids.
I played it at the Astoria.
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 Jesper Dahlback. All the underground hits.
All Whodini tracks. I heard you have a vinyl of every Rosa Yemen 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 '70s.
I hear you're buying an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Desert Stars record.
I hear that you and your band have sold your clarinet and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crash Course in Science,
PIL,
Pagans,
Circle Jerks,
Brick,
Scan 7,
Slick Rick,
Dorothy Ashby,
Amon Düül II,
Masters at Work,
a-ha,
Supertramp,
Absolute Body Control,
Henry Cow,
Monks,
The Count Five,
The United States of America,
The Associates,
the Soft Cell,
Frankie Knuckles,
Gang of Four,
Technova,
The Monochrome Set,
Angry Samoans,
Avey Tare & Kría Brekkan,
The Flesh Eaters,
Camron Feat. Memphis Bleek And Beenie Seigel,
Ronan,
Khruangbin,
Stockholm Monsters,
Intrusion,
China Crisis,
Oblivians,
the Slits,
The Five Americans,
The Trojans,
Niagra,
Black Bananas,
Banda Bassotti,
Pylon,
Cecil Taylor,
Tears for Fears,
Crispian St. Peters,
The Evens,
Boredoms,
DNA,
Essential Logic,
Groovy Waters,
Louis and Bebe Barron,
Subhumans,
Eurythmics,
The Remains,
K-Klass,
Nico,
Icehouse,
R.M.O.,
Malaria!,
Soul Sonic Force,
Bob Dylan,
Yazoo,
Strawberry Alarm Clock,
The Red Krayola,
The Toasters,
X-Ray Spex, X-Ray Spex, X-Ray Spex, X-Ray Spex.
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.