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 Equatorial Guinea and from Stockholm.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1977.
I'm losing my edge.
To all the kids in Mexico City and Manila.
I'm losing my edge to the art-school Columbus 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 clarinet 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 Desert Stars to the punk kids.
I played it at the Astoria.
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 B.T. Express. All the underground hits.
All Unrelated Segments tracks. I heard you have a vinyl of every Make Up record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an oboe and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a the Slits record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Urselle,
Radio Birdman,
Rapeman,
Joyce Sims,
The Gories,
Joe Smooth,
Bill Wells,
Henry Cow,
Sam Rivers,
Derrick Morgan,
Leonard Cohen,
Grandmaster Flash,
Roxette,
John Lydon,
The Wake,
Technova,
The Smoke,
Goldenarms,
The Busters,
X-101,
Quantec,
Lucky Dragons,
The Gladiators,
The Evens,
The Litter,
Flamin' Groovies,
Kas Product,
Curtis Mayfield,
Mr. Review,
Bill Near,
Warsaw,
Neil Young & Crazy Horse,
Alton Ellis,
Bobby Byrd,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Aaron Thompson,
Ken Boothe,
The Residents,
Quando Quango,
Audionom,
E-Dancer,
Interpol,
the Normal,
Supertramp,
John Cale,
Captain Beefheart & His Magic Band,
Lalann,
Lebanon Hanover,
UT,
Young Marble Giants,
Be Bop Deluxe,
Television,
Can,
Oneida,
B.T. Express,
The Gap Band,
Manfred Mann's Earth Band,
Infiniti,
Visionaries,LMNO, T- Love & Iriscience,
Popol Vuh,
Teenage Jesus and the Jerks,
Fear,
Wire, Wire, Wire, Wire.
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.