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 Venezuela and from Lagos.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Portland and Columbus.
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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the oboe 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 Harmonia to the disco kids.
I played it at the Spitz.
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 Lightning Bolt. All the underground hits.
All Ornette Coleman tracks. I heard you have a vinyl of every Orchestral Manoeuvres in the Dark record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Simply Red record.
I hear that you and your band have sold your harpsichord and bought a theremin.
I hear that you and your band have sold your theremin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Connie Case,
The Searchers,
Banda Bassotti,
The Dirtbombs,
Television,
Agitation Free,
Harpers Bizarre,
The Sound,
Avey Tare & Kría Brekkan,
Marvin Gaye,
Kenny Larkin,
Bush Tetras,
Radiopuhelimet,
The Victims,
Japan,
The American Breed,
Peter Gordon & Love of Life Orchestra,
Yellowson,
Warren Ellis,
Angry Samoans,
The Alarm Clocks,
Arcadia,
Skaos,
Max Romeo,
Nico,
Rotary Connection,
Faust,
The Birthday Party,
London Community Gospel Choir,
the Sonics,
Rod Modell,
The Names,
Gian Franco Pienzio,
X-101,
Symarip,
Nik Kershaw,
LL Cool J,
Sunsets and Hearts,
Ronnie Foster,
Adolescents,
David McCallum,
The Monks,
UT,
Wally Richardson,
Avey Tare's Slasher Flicks,
John Foxx,
Eddi Front,
Eve St. Jones,
Sly & The Family Stone,
The Shadows of Knight,
Thee Headcoats,
Dawn Penn,
Judy Mowatt,
Laurel Aitken,
F. McDonald,
Sun Ra,
Brand Nubian,
John Holt,
Pulsallama,
The Leaves, The Leaves, The Leaves, The Leaves.
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.