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 Dominica and from Houston.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Shanghai and Bologna.
I'm losing my edge to the art-school Glasgow 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 synthesizer 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 Interpol to the funk kids.
I played it at Cafe Wha.
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 Blossom Toes. All the underground hits.
All The Kinks tracks. I heard you have a vinyl of every The Misunderstood record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Zero Boys record.
I hear that you and your band have sold your rhodes and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DNA,
Rosa Yemen,
Marc Romboy vs. Booka Shade,
Sarah Menescal,
MC5,
Derrick May,
Fifty Foot Hose,
Easy Going,
Little Man,
Faraquet,
The Happenings,
The Names,
Cal Tjader,
The Young Rascals,
The Mighty Diamonds,
Barclay James Harvest,
Whodini,
Sällskapet,
Maleditus Sound,
Flash Fearless,
The Stooges,
Los Fastidios,
The Litter,
Lee Hazlewood,
Crispian St. Peters,
Jawbox,
Sun City Girls,
Eric B and Rakim,
Godley & Creme,
Donny Hathaway,
Orchestral Manoeuvres in the Dark,
Pussy Galore,
Pharaoh Sanders and the Fire Engines,
The Chocolate Watch Band,
John Cale,
Bobbi Humphrey,
Y Pants,
Inner City,
Liaisons Dangereuses,
Masters at Work,
The Sound,
Aural Exciters,
Monolake,
The Knickerbockers,
Tears for Fears,
Mandrill,
Roy Ayers,
Livin' Joy,
Byron Stingily,
Dennis Brown,
A Flock of Seagulls,
Harpers Bizarre,
B.T. Express,
Skarface,
New York Dolls,
Johnny Osbourne,
The American Breed,
Soulsonic Force,
Public Enemy,
Fear,
The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy, The Sisters of Mercy.
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.