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 Vanuatu and from Milan.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Toronto and Toronto.
I'm losing my edge to the art-school Bologna 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 spring reverb sounds with much patience.
I was there when David Bowie 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 Dead Boys to the jazz kids.
I played it at the Troubador.
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 Skaos. All the underground hits.
All Jeru the Damaja tracks. I heard you have a vinyl of every Reagan Youth record on German import.
I heard that you have a white label of every seminal dance 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 linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Main Source record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Camouflage,
Infiniti,
Gil Scott Heron,
Lalann,
Popol Vuh,
The American Breed,
Ash Ra Tempel,
Supertramp,
Fatback Band,
Zapp,
The Men They Couldn't Hang,
Terry Callier,
Ajijia Myrayebe,
Clear Light,
Strawberry Alarm Clock,
Pantaleimon,
ABC,
Sight & Sound,
Black Flag,
The Seeds,
Das Ding,
Simply Red,
Talk Talk,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Alarm Clocks,
John Holt,
Jimmy McGriff,
The Modern Lovers,
MC5,
The Martian,
AZ,
Chrome,
Rotary Connection,
Whodini,
London Community Gospel Choir,
These Immortal Souls,
Bootsy's Rubber Band,
Sparks,
Deutsch Amerikanische Freundschaft,
Dead Boys,
Animal Collective,
FM Einheit,
The Flesh Eaters,
Frankie Knuckles,
Boz Scaggs,
Pere Ubu,
Tom Boy,
The Real Kids,
The Blues Magoos,
the Fania All-Stars,
Sunsets and Hearts,
K-Klass,
Bad Manners,
The Standells,
New York Dolls,
Babytalk,
Thompson Twins,
Inner City,
Pete Rock & C.L. Smooth,
Faust,
Q65, Q65, Q65, Q65.
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.