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 Kazakhstan and from Mexico City.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1977.
I'm losing my edge.
To all the kids in Bologna and Toronto.
I'm losing my edge to the art-school Mumbai 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 linndrum 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 Fat Boys to the grime 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 Idris Muhammad. All the underground hits.
All Dead Boys tracks. I heard you have a vinyl of every Gabor Szabo record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your 808 and bought a sitar.
I hear that you and your band have sold your sitar and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
H. Thieme,
Vainqueur,
Avey Tare & Kría Brekkan,
Cameo,
Anakelly,
Nation of Ulysses,
DJ Style,
Kevin Saunderson,
Lonnie Liston Smith,
Unwound,
Severed Heads,
Rhythim Is Rhythim,
Tomorrow,
Matthew Bourne,
Roy Ayers,
Orchestral Manoeuvres in the Dark,
The Electric Prunes,
Yusef Lateef,
The United States of America,
Soul Sonic Force,
Jeru the Damaja,
the Normal,
Warsaw,
Lyres,
Minnie Riperton,
The Smiths,
Joe Smooth,
Eli Mardock,
Bobby Byrd,
Au Pairs,
Jerry's Kids,
Mo-Dettes,
Ronan,
The Slits,
The Monochrome Set,
Technova,
Accadde A,
Man Eating Sloth,
Funky Four + One,
Sex Pistols,
Judy Mowatt,
Rotary Connection,
Spandau Ballet,
Roger Hodgson,
The Tremeloes,
This Heat,
Beasts of Bourbon,
Bizarre Inc.,
Jeff Lynne,
Avey Tare's Slasher Flicks,
Gil Scott Heron,
X-102,
Masters at Work,
Richard Hell and the Voidoids,
London Community Gospel Choir,
Outsiders,
Pantytec,
Monolake,
Camouflage,
Youth Brigade,
Crooked Eye, Crooked Eye, Crooked Eye, Crooked Eye.
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.