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 Malawi and from Lille.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Lyon and Bremen.
I'm losing my edge to the art-school Madrid 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 1978 at the first Visage practice in a loft in London.
I was working on the linndrum 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 Bang on a Can All-Stars to the dance kids.
I played it at the 40 Watt.
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 Crime. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Sixth Finger record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying an organ and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Fluxion record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Christie,
Minutemen,
The Pretty Things,
Procol Harum,
Oppenheimer Analysis,
Simply Red,
Man Parrish,
Pole,
Neil Young & Crazy Horse,
Selector Dub Narcotic,
Al Stewart,
The Chocolate Watch Band,
Black Bananas,
Röyhkä ja Rättö ja Lehtisalo,
The Leaves,
Underground Resistance,
Kool Moe Dee,
Harry Pussy,
The Move,
Barclay James Harvest,
Darondo,
Bizarre Inc.,
The Skatalites,
Deakin,
Marc Almond,
Bauhaus,
Amon Düül,
Lebanon Hanover,
48th St. Collective,
Quando Quango,
Tomorrow,
Section 25,
The Mojo Men,
Jesper Dahlback,
Agitation Free,
Average White Band,
Animal Collective,
The Standells,
Notorious BIG live in Amsterdam,
Schoolly D,
Nas,
Matthew Bourne,
The Saints,
Super Lover Cee & Casanova Rud,
The West Coast Pop Art Experimental Band,
Tears for Fears,
Minnie Riperton,
Pierre Henry,
Harmonia,
Justin Hinds & The Dominoes,
The Busters,
Kaleidoscope,
The Fuzztones,
Derrick May,
Dark Day,
Inner City,
Fear,
Bobby Hutcherson,
Crispian St. Peters,
Ituana,
The Searchers,
The Angels of Light,
James White and The Blacks, James White and The Blacks, James White and The Blacks, James White and The Blacks.
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.