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 France and from Spokane.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1976.
I'm losing my edge.
To all the kids in Halifax and Bremen.
I'm losing my edge to the art-school Shanghai 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the snare 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 Barry Ungar to the jazz 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 Saints. All the underground hits.
All Frankie Knuckles tracks. I heard you have a vinyl of every Silicon Teens record on German import.
I heard that you have a white label of every seminal funk 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 güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Talk Talk record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Peter & Gordon,
The Misunderstood,
The Fuzztones,
The Selecter,
Rotary Connection,
Grauzone,
Reuben Wilson,
Siglo XX,
Pete Rock & C.L. Smooth,
Swans,
Johnny Osbourne,
Davy DMX,
James White and The Blacks,
The Black Dice,
The Litter,
Steve Hackett,
Joy Division,
The Neon Judgement,
The Chocolate Watch Band,
Loose Ends,
Faraquet,
Monolake,
Glenn Branca,
Angels of Light & Akron/Family,
The Leaves,
Leonard Cohen,
The Grass Roots,
Gary Puckett & The Union Gap,
The Motions,
Half Japanese,
CMW,
Boredoms,
Whodini,
Girls At Our Best!,
Throbbing Gristle,
Barry Ungar,
The Gap Band,
Graham Central Station,
Soft Machine,
The Flesh Eaters,
The Martian,
Manfred Mann's Earth Band,
Brass Construction,
Thee Headcoats,
D'Angelo,
David Axelrod,
Sight & Sound,
X-101,
Deepchord,
Massinfluence,
Barclay James Harvest,
Skriet,
Mandrill,
Althea and Donna,
Michelle Simonal,
Jawbox,
Sonic Youth,
Outsiders,
The Detroit Cobras,
Warsaw,
Aloha Tigers,
Toni Rubio,
Marine Girls,
The Angels of Light, The Angels of Light, The Angels of Light, The Angels of Light.
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.