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 Fiji and from Tokyo.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1962 to 1979.
I'm losing my edge.
To all the kids in London and Seoul.
I'm losing my edge to the art-school Copenhagen 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 güiro 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 The Seeds to the electroclash kids.
I played it at the Spitz.
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 Skarface. All the underground hits.
All The Beau Brummels tracks. I heard you have a vinyl of every Thompson Twins record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deakin,
Soft Machine,
Vaughan Mason & Crew,
Black Bananas,
Can,
Orchestral Manoeuvres in the Dark,
Bluetip,
The Stooges,
David Bowie,
The Durutti Column,
Sixth Finger,
Dual Sessions,
Tomorrow,
Gichy Dan,
James White and The Blacks,
Bobby Hutcherson,
Eddi Front,
Unwound,
The Raincoats,
Magma,
Gerry Rafferty,
Matthew Halsall,
D'Angelo,
Derrick Morgan,
Skaos,
Sticky Fingaz feat. Raekwon,
Lou Christie,
The Music Machine,
Alton Ellis,
The Standells,
Larry & the Blue Notes,
Scratch Acid,
Eve St. Jones,
Parry Music,
Oblivians,
DeepChord presents Echospace,
Janne Schatter,
The Offenders,
Teenage Jesus and the Jerks,
Tubeway Army,
Bootsy Collins,
Derrick May,
Neu!,
Wally Richardson,
Amon Düül,
Lalo Schifrin,
Don Cherry,
Robert Görl,
Lee Hazlewood,
Inner City,
Aloha Tigers,
Rhythm & Sound,
This Heat,
Barbara Tucker,
Quando Quango,
Saccharine Trust,
Accadde A,
Wighnomy Brothers & Robag Wruhme,
The Mojo Men,
Fela Kuti,
Justin Hinds & The Dominoes,
Outsiders,
Newcleus, Newcleus, Newcleus, Newcleus.
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.