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 Cuba and from Seoul.
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 Houston and Copenhagen.
I'm losing my edge to the art-school Shanghai 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 1978 at the first Visage practice in a loft in London.
I was working on the arpeggiator 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 Gabor Szabo to the punk 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 The Cure. All the underground hits.
All Ken Boothe tracks. I heard you have a vinyl of every Oblivians 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 rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Smiths record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lee Hazlewood,
Davy DMX,
Flipper,
Minnie Riperton,
De La Soul & Jungle Brothers,
Hot Snakes,
Dennis Brown,
Surgeon,
Josef K,
Ten City,
The Sisters of Mercy,
The Doors,
Monks,
Danielle Patucci,
The Modern Lovers,
Donald Byrd,
The Fugs,
Angry Samoans,
ABC,
Siouxsie and the Banshees,
The Jesus and Mary Chain,
Amon Düül,
Joensuu 1685,
the Soft Cell,
Yazoo,
The American Breed,
The Velvet Underground,
Camberwell Now,
The Names,
The Smoke,
D'Angelo,
Aloha Tigers,
Maleditus Sound,
Cal Tjader,
Procol Harum,
Radiohead,
The Happenings,
Thinking Fellers Union Local 282,
The Wake,
Radiopuhelimet,
Bronski Beat,
Peter Gordon & Love of Life Orchestra,
Pere Ubu,
Mantronix,
Marc Romboy vs. Booka Shade,
Selector Dub Narcotic,
The Detroit Cobras,
June of 44,
The Young Rascals,
Pantytec,
Ronnie Foster,
Kaleidoscope,
Fort Wilson Riot,
Guru Guru,
The Dave Clark Five,
Röyhkä ja Rättö ja Lehtisalo,
Massinfluence,
Man Eating Sloth,
Thee Headcoats,
Red Lorry Yellow Lorry,
Strawberry Alarm Clock,
The Dead C, The Dead C, The Dead C, The Dead C.
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.