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 Japan and from Mexico City.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Spokane and Mexico City.
I'm losing my edge to the art-school Toronto 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the marimba 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 Magazine to the punk kids.
I played it at the Hacienda.
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 The Fuzztones. All the underground hits.
All Ralphi Rosario tracks. I heard you have a vinyl of every The Angels of Light 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 '60s cut and another box set from the '70s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your güiro and bought a marimba.
I hear that you and your band have sold your marimba and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soulsonic Force,
Loose Ends,
Matthew Bourne,
The Smoke,
Chrome,
The Golliwogs,
H. Thieme,
The Move,
Joey Negro,
John Foxx,
Suburban Knight,
Sun Ra Arkestra,
Half Japanese,
Warren Ellis,
Outsiders,
Isaac Hayes,
Tom Boy,
Fela Kuti,
Scion,
Little Man,
Porter Ricks,
Cheater Slicks,
Kurtis Blow,
Rakim,
Scott Walker,
Y Pants,
Avey Tare & Kría Brekkan,
Jeff Lynne,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Mandrill,
Josef K,
Marmalade,
Kevin Saunderson,
Deadbeat,
Urselle,
Lakeside,
The West Coast Pop Art Experimental Band,
Marine Girls,
Fluxion,
Average White Band,
Magazine,
The Seeds,
Basic Channel,
Theoretical Girls,
Sarah Menescal,
Banda Bassotti,
The Standells,
Pet Shop Boys,
Kango’s Stein Massive,
Susan Cadogan,
Howard Jones,
Electric Prunes,
Eric Copeland,
The Searchers,
Unrelated Segments,
Con Funk Shun,
The Invisible,
Ultravox,
Johnny Osbourne,
Sonic Youth,
The Fuzztones,
Jacques Brel,
Bauhaus, Bauhaus, Bauhaus, Bauhaus.
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.