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 Nepal and from Spokane.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Hong Kong and Manila.
I'm losing my edge to the art-school New York 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 Michael McDonald 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 Franke to the grime 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 Derrick Morgan. All the underground hits.
All Teenage Jesus and the Jerks tracks. I heard you have a vinyl of every Scrapy 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 '80s.
I hear you're buying a marimba and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your theremin and bought a güiro.
I hear that you and your band have sold your güiro and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barclay James Harvest,
Motorama,
Carl Craig,
AZ,
Bad Manners,
Camberwell Now,
Trumans Water,
Electric Prunes,
Howard Jones,
Fugazi,
Chris Corsano,
Alphaville,
Echo & the Bunnymen,
the Slits,
Laurel Aitken,
Television Personalities,
Arthur Verocai,
Adolescents,
The Litter,
Das Ding,
The Modern Lovers,
Notorious BIG live in Amsterdam,
Ohio Players,
The Evens,
The Remains,
The Vogues,
Toni Rubio,
John Lydon,
T. Rex,
Ice-T,
Lebanon Hanover,
Larry & the Blue Notes,
Danielle Patucci,
Beasts of Bourbon,
Gang Gang Dance,
La Düsseldorf,
Lizzy Mercier Descloux,
Reuben Wilson,
Ossler,
Magazine,
Oppenheimer Analysis,
Orchestral Manoeuvres in the Dark,
Rakim,
Tears for Fears,
Freddie Wadling,
Nik Kershaw,
Electric Light Orchestra,
Scott Walker,
48th St. Collective,
Rites of Spring,
Ken Boothe,
Rekid,
The Fugs,
Alice Coltrane,
Warsaw,
Faust,
Nils Olav,
Sight & Sound,
The Jesus and Mary Chain,
Franke,
Rapeman,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.