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 El Salvador and from Portland.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Bremen and Taipei.
I'm losing my edge to the art-school Manchester 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 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 Mo-Dettes to the techno kids.
I played it at the Hacienda.
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 Fortunes. All the underground hits.
All The Happenings tracks. I heard you have a vinyl of every Qualms 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 '50s 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 The Moleskins record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fifty Foot Hose,
Mandrill,
The Cowsills,
Mantronix,
Brass Construction,
Gang Starr,
Richard Hell and the Voidoids,
Sun Ra,
Saccharine Trust,
Blossom Toes,
James Chance & The Contortions,
Rhythm & Sound,
Yaz,
the Normal,
Outsiders,
Agent Orange,
Sonic Youth,
Judy Mowatt,
The Invisible,
Amon Düül,
T.S.O.L.,
Intrusion,
Tears for Fears,
Nik Kershaw,
Wighnomy Brothers & Robag Wruhme,
Moby Grape,
The Durutti Column,
Art Ensemble Of Chicago,
Bobby Byrd,
Qualms,
Andrew Ashong & Theo Parrish,
Larry & the Blue Notes,
Terry Callier,
Matthew Halsall,
Second Layer,
Cymande,
Freddie Wadling,
Sun City Girls,
Nirvana,
Moebius,
The Detroit Cobras,
Sällskapet,
Flash Fearless,
Harry Pussy,
Porter Ricks,
The Young Rascals,
Au Pairs,
Underground Resistance,
Sugar Minott,
Visage,
The Cramps,
Stockholm Monsters,
Alphaville,
The Human League,
The J.B.'s,
The Chocolate Watch Band,
Shoche,
The Knickerbockers,
Basic Channel,
F. McDonald,
Aaron Thompson,
Wings, Wings, Wings, Wings.
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.