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 Belarus and from Beijing.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Accra and Columbus.
I'm losing my edge to the art-school Spokane 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 harpsichord 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 Rhythim Is Rhythim to the disco kids.
I played it at CBGB's.
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 Prince Buster. All the underground hits.
All Minor Threat tracks. I heard you have a vinyl of every Bootsy Collins 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 '80s cut and another box set from the '90s.
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 Country Joe & The Fish record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Banda Bassotti,
Magazine,
The Pop Group,
Eric Copeland,
The Blues Magoos,
Pussy Galore,
Major Organ And The Adding Machine,
The Sisters of Mercy,
The Mighty Diamonds,
Johnny Osbourne,
Bad Manners,
Bizarre Inc.,
Jesper Dahlbäck,
Minny Pops,
The Remains,
Sixth Finger,
Sonic Youth,
Roger Hodgson,
Jerry's Kids,
Tubeway Army,
Public Image Ltd.,
Kool Moe Dee,
Terrestrial Tones,
Nico,
Barry Ungar,
CMW,
Soul Sonic Force,
Von Mondo,
Sister Nancy,
New York Dolls,
The Sound,
Spoonie Gee,
The Jesus and Mary Chain,
Basic Channel,
The Zeros,
The Raincoats,
Funkadelic,
Main Source,
The Selecter,
K-Klass,
Bobbi Humphrey,
Monolake,
Aaron Thompson,
Erasure,
Rhythm & Sound,
Be Bop Deluxe,
The Slackers,
Scientists,
Young Marble Giants,
Motorama,
Ituana,
Radiopuhelimet,
Surgeon,
Thee Headcoats,
Zero Boys,
The Tremeloes,
The Offenders,
James White and The Blacks,
Beasts of Bourbon,
Rekid,
Crispian St. Peters,
In Retrospect, In Retrospect, In Retrospect, In Retrospect.
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.