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 Costa Rica and from Glasgow.
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 1963 to 1971.
I'm losing my edge.
To all the kids in Houston and Lyon.
I'm losing my edge to the art-school Copenhagen 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the linndrum sounds with much patience.
I was there when Michael McDonald 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 Gian Franco Pienzio to the electroclash 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 Circle Jerks. All the underground hits.
All the Slits tracks. I heard you have a vinyl of every Lee Hazlewood record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Oneida record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer 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?
EPMD,
Sunsets and Hearts,
a-ha,
Jerry's Kids,
48th St. Collective,
The Star Department,
The Last Poets,
Sarah Menescal,
Lyres,
Peter & Gordon,
Eric Dolphy,
Soft Machine,
The Dirtbombs,
Urselle,
Gregory Isaacs,
The Leaves,
Cybotron,
Al Stewart,
Mandrill,
Sexual Harrassment,
Gil Scott-Heron and Jamie xx,
DeepChord presents Echospace,
Skaos,
Fatback Band,
Camouflage,
The Beau Brummels,
Johnny Clarke,
Tropical Tobacco,
Au Pairs,
Amon Düül II,
The Vogues,
Circle Jerks,
The Residents,
Alphaville,
Anakelly,
The Real Kids,
Danielle Patucci,
Blake Baxter,
Iggy Pop,
Lou Reed & John Cale,
A Certain Ratio,
Unwound,
De La Soul & Jungle Brothers,
Public Image Ltd.,
Shoche,
Angry Samoans,
Ajijia Myrayebe,
Cecil Taylor,
Rod Modell,
The Alarm Clocks,
The Knickerbockers,
Zero Boys,
The Peanut Butter Conspiracy,
Fugazi,
Letta Mbulu,
John Lydon,
Kevin Saunderson,
Sly & The Family Stone,
Matthew Halsall,
The Victims,
Lebanon Hanover,
The Selecter, The Selecter, The Selecter, The Selecter.
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.