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 Estonia and from Mexico City.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Stockholm and Salvador.
I'm losing my edge to the art-school Spokane 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 organ 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 Bizarre Inc. to the dance kids.
I played it at Trash.
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 Moss Icon. All the underground hits.
All June Days tracks. I heard you have a vinyl of every The Count Five record on German import.
I heard that you have a white label of every seminal punk 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 an arpeggiator and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Ten City record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tres Demented,
The Skatalites,
The Beau Brummels,
Gil Scott-Heron and Jamie xx,
Connie Case,
Soft Machine,
Skarface,
Pole,
The Offenders,
De La Soul & Jungle Brothers,
Dead Boys,
K-Klass,
Slave,
Pylon,
Leonard Cohen,
Urselle,
Talk Talk,
Rufus Thomas,
Bluetip,
Tears for Fears,
Camberwell Now,
The Names,
Fluxion,
The Sound,
Sly & The Family Stone,
The Mojo Men,
Angry Samoans,
Kango’s Stein Massive,
Procol Harum,
The Flesh Eaters,
Little Man,
Bad Manners,
Ice-T,
Pharaoh Sanders and the Fire Engines,
Sam Rivers,
Rahsaan Roland Kirk,
Joe Smooth,
Be Bop Deluxe,
The United States of America,
Half Japanese,
Outsiders,
Supertramp,
Mo-Dettes,
Ultramagnetic MC's,
Girls At Our Best!,
H. Thieme,
Nils Olav,
Rowland S Howard / Lydia Lunch,
James Chance & The Contortions,
Dawn Penn,
L. Decosne,
David McCallum,
The Pop Group,
Rhythm & Sound,
Brass Construction,
The Royal Family And The Poor,
Accadde A,
Mission of Burma,
Mandrill,
Public Image Ltd.,
Boz Scaggs,
Fugazi,
Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees, Siouxsie and the Banshees.
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.