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 Korea North and from Manchester.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1966 to 1973.
I'm losing my edge.
To all the kids in Milan and Jakarta.
I'm losing my edge to the art-school Beijing 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 oboe sounds with much patience.
I was there when Captain Beefheart 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 Los Fastidios to the electroclash 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 Infiniti. All the underground hits.
All Theoretical Girls tracks. I heard you have a vinyl of every The Real Kids 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 '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Banda Bassotti,
Crispy Ambulance,
Radiopuhelimet,
Excepter,
Jimmy McGriff,
Lonnie Liston Smith,
Radio Birdman,
Whodini,
Average White Band,
Kenny Larkin,
Wally Richardson,
The Names,
China Crisis,
Marmalade,
Iggy Pop,
World's Most,
Terry Callier,
Von Mondo,
Jacques Brel,
Pete Rock & C.L. Smooth,
John Foxx,
Animal Collective,
In Retrospect,
Accadde A,
James Chance & The Contortions,
Duran Duran,
Louis and Bebe Barron,
Lalann,
Lindisfarne,
The Zeros,
Man Parrish,
Lou Reed & Metallica,
Kerri Chandler,
Reuben Wilson,
Matthew Bourne,
Soul II Soul,
JFA,
Thee Headcoats,
Depeche Mode,
Crime,
London Community Gospel Choir,
Bobby Sherman,
Roy Ayers Ubiquity,
the Association,
June of 44,
Fugazi,
Icehouse,
Khruangbin,
The Wake,
Eyeless In Gaza,
the Slits,
Unrelated Segments,
ABC,
Kaleidoscope,
Main Source,
Fear,
Barbara Tucker,
Grandmaster Flash and the Furious Five,
The Kinks,
Michelle Simonal,
Moss Icon,
The Sonics, The Sonics, The Sonics, The Sonics.
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.