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 Croatia and from Madrid.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Spokane and London.
I'm losing my edge to the art-school Bremen 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 guitar sounds with much patience.
I was there when Lou Reed 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 Junior Murvin to the techno kids.
I played it at Cafe Wha.
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 Birthday Party. All the underground hits.
All The Happenings tracks. I heard you have a vinyl of every Das Ding record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a mellotron and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a New Order record.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eden Ahbez,
Max Romeo,
Be Bop Deluxe,
Morten Harket,
Sunsets and Hearts,
the Fania All-Stars,
Sällskapet,
ABC,
Ronnie Foster,
Ajijia Myrayebe,
Ossler,
Fifty Foot Hose,
Mission of Burma,
Quantec,
Laurel Aitken,
The Alarm Clocks,
The Tremeloes,
Traffic Nightmare,
Rapeman,
Magazine,
The Pop Group,
Liaisons Dangereuses,
Liliput,
Letta Mbulu,
Johnny Clarke,
Public Image Ltd.,
The Names,
In Retrospect,
Reuben Wilson,
Gang Green,
Easy Going,
La Düsseldorf,
Wally Richardson,
Subhumans,
Schoolly D,
Stetsasonic,
Darondo,
Oppenheimer Analysis,
Yellowson,
JFA,
Nick Cave & The Bad Seeds,
Mary Jane Girls,
Kerrie Biddell,
Young Marble Giants,
FM Einheit,
Hardrive,
Dorothy Ashby,
Eric B and Rakim,
MC5,
EPMD,
Byron Stingily,
Metal Thangz,
Country Joe & The Fish,
Röyhkä ja Rättö ja Lehtisalo,
Interpol,
Gerry Rafferty,
Lafayette Afro Rock Band,
Gian Franco Pienzio,
Siglo XX,
Warsaw,
The Young Rascals,
Albert Ayler,
Con Funk Shun, Con Funk Shun, Con Funk Shun, Con Funk Shun.
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.