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 Luxembourg and from Edmonton.
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 1964 to 1973.
I'm losing my edge.
To all the kids in New York and Lille.
I'm losing my edge to the art-school London 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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the rhodes 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 Popol Vuh to the punk 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 Deadbeat. All the underground hits.
All The Gories tracks. I heard you have a vinyl of every Flamin' Groovies 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 '80s.
I hear you're buying a güiro and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül II record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dual Sessions,
Negative Approach,
the Soft Cell,
Icehouse,
Rapeman,
Moss Icon,
The Blackbyrds,
Das Ding,
X-101,
DNA,
Panda Bear,
Manfred Mann's Earth Band,
Yellowson,
Camouflage,
the Slits,
Heavy D & The Boyz,
The Gun Club,
The Standells,
Dawn Penn,
Bobby Womack,
Chrome,
Aural Exciters,
Pere Ubu,
The Knickerbockers,
Marshall Jefferson,
Pussy Galore,
Television Personalities,
Saccharine Trust,
Brass Construction,
Wire,
Nick Fraelich,
Junior Murvin,
Accadde A,
Joensuu 1685,
Supertramp,
Sixth Finger,
the Bar-Kays,
Wasted Youth,
Kenny Larkin,
Crime,
The Flesh Eaters,
Rahsaan Roland Kirk,
The Music Machine,
the Germs,
Magazine,
The Pop Group,
Scott Walker,
Unwound,
Terry Callier,
Cabaret Voltaire,
The Buckinghams,
Deadbeat,
Joe Finger,
Ultra Naté,
Jeff Mills,
Gastr Del Sol,
Laurel Aitken,
The United States of America,
Glambeats Corp.,
Jacques Brel,
Funky Four + One,
Mission of Burma, Mission of Burma, Mission of Burma, Mission of Burma.
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.