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 Saudi Arabia and from Madrid.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Calgary and Hong Kong.
I'm losing my edge to the art-school Johannesburg 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the spring reverb 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 Soul Sonic Force to the grunge 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 Leonard Cohen. All the underground hits.
All Eyeless In Gaza tracks. I heard you have a vinyl of every Cluster 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 '80s cut and another box set from the '70s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Mary Jane Girls record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Loose Ends,
Boz Scaggs,
The Motions,
Nation of Ulysses,
Deadbeat,
Joe Smooth,
Arthur Verocai,
Schoolly D,
The Kinks,
The Remains,
Matthew Halsall,
Gastr Del Sol,
Surgeon,
Cymande,
UT,
Delta 5,
Robert Wyatt,
Brothers Johnson,
Slave,
Lou Reed,
Suicide,
The Fortunes,
Marc Romboy vs. Booka Shade,
Japan,
Erasure,
Unrelated Segments,
Vladislav Delay,
Bootsy's Rubber Band,
The Peanut Butter Conspiracy,
Nik Kershaw,
Graham Central Station,
The Names,
Janne Schatter,
Wasted Youth,
the Bar-Kays,
Bobby Sherman,
Pete Rock & C.L. Smooth,
Al Stewart,
PIL,
Excepter,
Thinking Fellers Union Local 282,
Desert Stars,
Y Pants,
Make Up,
La Düsseldorf,
Dave Gahan,
Cameo,
Moss Icon,
Neil Young,
Bill Near,
The Smiths,
Young Marble Giants,
Letta Mbulu,
The Angels of Light,
Sight & Sound,
June Days,
Television,
Main Source,
The Grass Roots,
Mo-Dettes,
Babytalk,
New York Dolls,
Pylon,
Bronski Beat, Bronski Beat, Bronski Beat, Bronski Beat.
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.