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 Jamaica and from Stockholm.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Cairo and Beijing.
I'm losing my edge to the art-school Taipei 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 marimba 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 Steve Hackett to the funk 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 Liaisons Dangereuses. All the underground hits.
All The Walker Brothers tracks. I heard you have a vinyl of every Flash Fearless record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cheater Slicks,
Infiniti,
Art Ensemble Of Chicago,
Duran Duran,
Sly & The Family Stone,
The Trojans,
Nick Cave & The Bad Seeds,
Slave,
Lightning Bolt,
Michelle Simonal,
The Cramps,
Morten Harket,
One Last Wish,
Don Cherry,
Schoolly D,
Kerri Chandler,
Mary Jane Girls,
Albert Ayler,
Minor Threat,
The Fortunes,
Youth Brigade,
Von Mondo,
Crash Course in Science,
Quadrant,
Howard Jones,
Gregory Isaacs,
Ituana,
MDC,
the Soft Cell,
Angels of Light & Akron/Family,
Index,
June Days,
Camouflage,
Amazonics,
Black Sheep,
The Black Dice,
A Certain Ratio,
Sun Ra Arkestra,
Jawbox,
Peter & Gordon,
The Barracudas,
The Searchers,
Nils Olav,
Whodini,
Intrusion,
Cabaret Voltaire,
Amon Düül,
Thompson Twins,
The Tremeloes,
Robert Görl,
Lower 48,
The Remains,
Lou Reed & Metallica,
Reagan Youth,
Bootsy Collins,
Country Joe & The Fish,
Eric Dolphy,
Isaac Hayes,
Deutsch Amerikanische Freundschaft,
The Fugs,
Arthur Verocai,
Nation of Ulysses,
James Chance & The Contortions,
Hot Snakes, Hot Snakes, Hot Snakes, Hot Snakes.
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.