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 Mozambique and from New York.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1967 to 1979.
I'm losing my edge.
To all the kids in New York and New York.
I'm losing my edge to the art-school Salvador 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 sitar 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 Marine Girls to the dance kids.
I played it at the Roxy.
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 Avey Tare. All the underground hits.
All Sexual Harrassment tracks. I heard you have a vinyl of every Deadbeat 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 '70s.
I hear you're buying a marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a In Retrospect record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
The Barracudas,
Johnny Osbourne,
Cluster,
Davy DMX,
Electric Light Orchestra,
Notorious Big And Bone Thugs,
Gian Franco Pienzio,
Pussy Galore,
The Sound,
the Germs,
Dual Sessions,
Röyhkä ja Rättö ja Lehtisalo,
Amon Düül,
The Blues Magoos,
Kerrie Biddell,
Scott Walker,
Mad Mike,
The Modern Lovers,
Sunsets and Hearts,
The Motions,
The Velvet Underground,
Sad Lovers and Giants,
Bluetip,
Jerry Gold Smith,
Fela Kuti,
Stereo Dub,
Accadde A,
Tropical Tobacco,
the Association,
the Normal,
Echo & the Bunnymen,
MDC,
Erykah Badu,
Donny Hathaway,
Neu!,
The Stooges,
Crime,
Lucky Dragons,
Wally Richardson,
Derrick Morgan,
The Victims,
Camberwell Now,
La Düsseldorf,
In Retrospect,
Tears for Fears,
Prince Buster,
10cc,
Black Moon,
Gang Green,
Simply Red,
Buzzcocks,
London Community Gospel Choir,
Masters at Work,
The Cramps,
The Names,
Black Sheep,
Pharoah Sanders,
Q65,
Popol Vuh, Popol Vuh, Popol Vuh, Popol Vuh.
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.