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 Lesotho and from Manchester.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Lyon.
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 Selda practice in a loft in Istanbul.
I was working on the theremin 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 10cc to the techno kids.
I played it at the Crocodile.
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 Captain Beefheart & His Magic Band. All the underground hits.
All Supertramp tracks. I heard you have a vinyl of every ABBA record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a James Chance & The Contortions record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
Laurel Aitken,
Blake Baxter,
A Flock of Seagulls,
Nico,
Monolake,
Aloha Tigers,
PIL,
Ohio Players,
Gastr Del Sol,
The Moody Blues,
Ludus,
Flash Fearless,
The Dave Clark Five,
Kas Product,
Deadbeat,
The Dirtbombs,
Joensuu 1685,
Avey Tare & Kría Brekkan,
Dead Boys,
Stereo Dub,
Negative Approach,
Crooked Eye,
Gichy Dan,
The Searchers,
Quadrant,
cv313,
Buzzcocks,
Oppenheimer Analysis,
Maleditus Sound,
Soul Sonic Force,
A Certain Ratio,
Royal Trux,
The Gun Club,
The Men They Couldn't Hang,
Zero Boys,
The Young Rascals,
Niagra,
Röyhkä ja Rättö ja Lehtisalo,
AZ,
Funkadelic,
Sun Ra,
Rahsaan Roland Kirk,
The Zeros,
Magma,
June Days,
Janne Schatter,
Neu!,
Soft Machine,
Soft Cell,
Byron Stingily,
Robert Wyatt,
Aaron Thompson,
Mr. Review,
The Move,
The Blackbyrds,
Los Fastidios,
Parry Music,
The Golliwogs,
Wire,
Ronan, Ronan, Ronan, Ronan.
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.