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 Solomon Islands and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Paris and New York.
I'm losing my edge to the art-school Mexico City 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 theremin 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 The Velvet Underground to the funk kids.
I played it at Cafe Wha.
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 Max Romeo. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every The Associates record on German import.
I heard that you have a white label of every seminal grime 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 a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp 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?
Deepchord,
Roxette,
Lafayette Afro Rock Band,
Albert Ayler,
La Düsseldorf,
Neil Young,
Ponytail,
Archie Shepp,
Kings Of Tomorrow,
Louis and Bebe Barron,
Drive Like Jehu,
Second Layer,
The Alarm Clocks,
Index,
Camberwell Now,
Absolute Body Control,
Ken Boothe,
Don Cherry,
Sly & The Family Stone,
Electric Prunes,
The Shadows of Knight,
CMW,
The Electric Prunes,
David Bowie,
Thee Headcoats,
Juan Atkins,
Bad Manners,
The Modern Lovers,
Rites of Spring,
The Invisible,
Brothers Johnson,
The Walker Brothers,
Mission of Burma,
Joensuu 1685,
Jacques Brel,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Zapp,
Kaleidoscope,
Soul II Soul,
Ronan,
UT,
the Germs,
Throbbing Gristle,
The Martian,
Radio Birdman,
Teenage Jesus and the Jerks,
Theoretical Girls,
Rhythim Is Rhythim,
Boogie Down Productions,
Inner City,
Marc Almond,
Massinfluence,
John Holt,
Angry Samoans,
The Cosmic Jokers,
Lou Reed,
The Kinks,
Siouxsie and the Banshees,
AZ,
Pierre Henry,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.