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 Kosovo and from Madrid.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1973.
I'm losing my edge.
To all the kids in Paris and Madrid.
I'm losing my edge to the art-school Portland 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 1984 at the first Arcadia practice in a loft in London.
I was working on the güiro sounds with much patience.
I was there when David Bowie 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 Lee Hazlewood to the punk 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 Panda Bear. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every Glenn Branca 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 '60s cut and another box set from the '80s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Unwound record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Model 500,
Make Up,
X-101,
John Coltrane,
Loose Ends,
Porter Ricks,
Flamin' Groovies,
Liliput,
Peter & Gordon,
Severed Heads,
The Birthday Party,
Tommy Roe,
Major Organ And The Adding Machine,
Josef K,
New York Dolls,
These Immortal Souls,
Boredoms,
Unrelated Segments,
Carl Craig,
Echo & the Bunnymen,
the Sonics,
Althea and Donna,
Kool G Rap & DJ Polo,
Pere Ubu,
ABBA,
Public Image Ltd.,
Bootsy's Rubber Band,
Roxette,
Slave,
Sun City Girls,
Gang of Four,
Jimmy McGriff,
Max Romeo,
Oneida,
Hashim,
Quadrant,
UT,
Bang On A Can,
Cybotron,
Warsaw,
Bobby Sherman,
Vladislav Delay,
Banda Bassotti,
Royal Trux,
Ronan,
Godley & Creme,
Circle Jerks,
The Remains,
Tim Buckley,
EPMD,
Tomorrow,
The Blackbyrds,
Lafayette Afro Rock Band,
Television,
Isaac Hayes,
James White and The Blacks,
Supertramp,
Slick Rick,
Index,
Deepchord,
Electric Prunes,
Interpol, Interpol, Interpol, Interpol.
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.