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 Egypt and from Houston.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Winnipeg and Accra.
I'm losing my edge to the art-school Seoul 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 1975 at the first Ubu practice in a loft in Cleveland.
I was working on the spring reverb sounds with much patience.
I was there when Lou Reed 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 AZ to the disco 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 Can. All the underground hits.
All Curtis Mayfield tracks. I heard you have a vinyl of every The American Breed 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 '60s cut and another box set from the '80s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Sound,
Scott Walker,
Grey Daturas,
Amon Düül II,
ABBA,
Kerrie Biddell,
Leonard Cohen,
Glenn Branca,
Harry Pussy,
Reagan Youth,
Blossom Toes,
Loose Ends,
Chris Corsano,
Ten City,
Nation of Ulysses,
Mission of Burma,
Gerry Rafferty,
Dark Day,
Hasil Adkins,
The Stooges,
Ultravox,
Bobby Sherman,
Tears for Fears,
Ituana,
The Blues Magoos,
The Cramps,
The Dead C,
ABC,
Kas Product,
Ohio Players,
Bush Tetras,
Peter & Gordon,
Lightning Bolt,
Scientists,
Avey Tare & Kría Brekkan,
Kenny Larkin,
Junior Murvin,
The Toasters,
The Motions,
Justin Hinds & The Dominoes,
Oneida,
B.T. Express,
Aural Exciters,
Japan,
Groovy Waters,
Soft Cell,
Siouxsie and the Banshees,
Pussy Galore,
Excepter,
These Immortal Souls,
Ronan,
Sam Rivers,
Janne Schatter,
Sly & The Family Stone,
The Divine Comedy,
Das Ding,
Sound Behaviour,
Wally Richardson,
Simply Red,
Dead Boys,
48th St. Collective,
The Evens,
The Human League, The Human League, The Human League, The Human League.
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.