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 Spain and from Manila.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1974.
I'm losing my edge.
To all the kids in Portland and Woodstock.
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 spring reverb 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 Agitation Free to the dance 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 Pulsallama. All the underground hits.
All Skriet tracks. I heard you have a vinyl of every The Toasters record on German import.
I heard that you have a white label of every seminal jazz 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 spring reverb and a chamberlin 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 arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Animal Collective,
The Move,
Oneida,
Don Cherry,
Kayak,
Major Organ And The Adding Machine,
Lee Hazlewood,
Rekid,
Lyres,
Richard Hell and the Voidoids,
Althea and Donna,
David McCallum,
Kauko Röyhkä ja Narttu,
Stetsasonic,
the Normal,
Joe Smooth,
The Smiths,
Andrew Ashong & Theo Parrish,
Echospace,
The Toasters,
Fort Wilson Riot,
Jacques Brel,
X-101,
Half Japanese,
Alton Ellis,
The Alarm Clocks,
Boogie Down Productions,
Glambeats Corp.,
Joyce Sims,
Aswad,
Public Enemy,
Au Pairs,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Lebanon Hanover,
Kango’s Stein Massive,
Throbbing Gristle,
The Dirtbombs,
Erasure,
Section 25,
Scan 7,
Larry & the Blue Notes,
Glenn Branca,
London Community Gospel Choir,
Drexciya,
Sonic Youth,
Fat Boys,
the Germs,
The Human League,
Ken Boothe,
Vainqueur,
Pere Ubu,
The Saints,
EPMD,
The Sisters of Mercy,
Dead Boys,
Soul II Soul,
John Coltrane,
Justin Hinds & The Dominoes,
A Certain Ratio,
The Moleskins,
Crispy Ambulance,
Pharaoh Sanders and the Fire Engines,
The Electric Prunes,
Blossom Toes, Blossom Toes, Blossom Toes, Blossom Toes.
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.