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 Dominican Republic and from Johannesburg.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 Delhi and Tehran.
I'm losing my edge to the art-school Toronto 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 synthesizer sounds with much patience.
I was there when Donald Fagen 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 Sad Lovers and Giants to the techno 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 Half Japanese. All the underground hits.
All Amon Düül II tracks. I heard you have a vinyl of every The Dirtbombs 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 '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a X-Ray Spex record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skriet,
Jacques Brel,
Alison Limerick,
La Düsseldorf,
the Germs,
The Dirtbombs,
The Walker Brothers,
New Age Steppers,
Mission of Burma,
Tim Buckley,
Aural Exciters,
Ultravox,
Marc Romboy vs. Booka Shade,
Lizzy Mercier Descloux,
Zapp,
Basic Channel,
Swell Maps,
Stockholm Monsters,
Bobby Womack,
L. Decosne,
Accadde A,
Drexciya,
Skaos,
Kas Product,
Susan Cadogan,
Kenny Larkin,
Clear Light,
Soulsonic Force,
Lightning Bolt,
Eli Mardock,
The Alarm Clocks,
Ash Ra Tempel,
Beasts of Bourbon,
The Move,
Cameo,
The Mighty Diamonds,
Flipper,
Alice Coltrane,
the Slits,
Yellowson,
Andrew Hill,
Lyres,
Avey Tare,
Manfred Mann's Earth Band,
Lalo Schifrin,
Toni Rubio,
Nick Cave & The Bad Seeds,
Skarface,
Deakin,
Eyeless In Gaza,
The Gladiators,
Shoche,
Terror Squad Feat. Camron,
John Lydon,
Gang Green,
Ponytail,
Bobbi Humphrey,
Black Sheep,
Jesper Dahlback,
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.