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 Somalia and from Copenhagen.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1978.
I'm losing my edge.
To all the kids in Philadelphia and Sao Paulo.
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 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 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 Sugar Minott to the rock kids.
I played it at the Roxy.
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 Bootsy Collins. All the underground hits.
All The Slits tracks. I heard you have a vinyl of every The Doors record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Charles Mingus record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Stooges,
Blossom Toes,
Lebanon Hanover,
Judy Mowatt,
Ice-T,
La Düsseldorf,
Parry Music,
James Chance & The Contortions,
Bad Manners,
Tom Boy,
The Fuzztones,
PIL,
Oppenheimer Analysis,
Easy Going,
Henry Cow,
Outsiders,
Khruangbin,
New Age Steppers,
Crooked Eye,
Flamin' Groovies,
Gang Green,
Black Sheep,
Malaria!,
Sun Ra Arkestra,
Chris Corsano,
the Germs,
Severed Heads,
David Axelrod,
Infiniti,
Chrome,
Gil Scott-Heron and Jamie xx,
Kango’s Stein Massive,
MDC,
Super Lover Cee & Casanova Rud,
Barclay James Harvest,
Patti Smith,
Animal Collective,
The Smiths,
Organ,
Cheater Slicks,
DJ Sneak,
Bill Near,
The American Breed,
Wolf Eyes,
Wire,
The Five Americans,
Arthur Verocai,
Scott Walker + Sunn O))),
Radio Birdman,
Flipper,
Pylon,
Mary Jane Girls,
The Tremeloes,
Nils Olav,
The Fire Engines,
The Neon Judgement,
Half Japanese,
Delon & Dalcan,
The Velvet Underground,
Lightning Bolt,
Vaughan Mason & Crew,
The United States of America, The United States of America, The United States of America, The United States of America.
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.