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 Indonesia and from Salvador.
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 1971.
I'm losing my edge.
To all the kids in Seoul and Manila.
I'm losing my edge to the art-school New York 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 1973 at the first Television practice in a loft in New York.
I was working on the chamberlin sounds with much patience.
I was there when Nile Rodgers 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 Brick to the electroclash 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 John Lydon. All the underground hits.
All John Coltrane tracks. I heard you have a vinyl of every Deutsch Amerikanische Freundschaft 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 '60s cut and another box set from the '90s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a the Association record.
I hear that you and your band have sold your spring reverb and bought a guitar.
I hear that you and your band have sold your guitar 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?
K-Klass,
The Black Dice,
The Gun Club,
Toni Rubio,
Cabaret Voltaire,
The Men They Couldn't Hang,
The Grass Roots,
Fugazi,
Mark Hollis,
Sarah Menescal,
La Düsseldorf,
Fatback Band,
Parry Music,
Flipper,
Erasure,
Qualms,
June of 44,
Q65,
Curtis Mayfield,
Peter Gordon & Love of Life Orchestra,
Mars,
The Remains,
The Dirtbombs,
Black Pus,
Ossler,
Stiv Bators,
Tommy Roe,
Q and Not U,
The Smoke,
Mary Jane Girls,
ABC,
Magazine,
DNA,
Alice Coltrane,
Eurythmics,
Grey Daturas,
Joensuu 1685,
Eli Mardock,
Nik Kershaw,
Sticky Fingaz feat. Raekwon,
Liliput,
The Star Department,
The Golliwogs,
The Alarm Clocks,
Average White Band,
Don Cherry,
Joe Finger,
Funkadelic,
Nation of Ulysses,
Stereo Dub,
Faraquet,
Nico,
Metal Thangz,
Warsaw,
Underground Resistance,
H. Thieme,
Radiohead,
Lee Hazlewood,
One Last Wish,
Lonnie Liston Smith,
a-ha,
The Real Kids, The Real Kids, The Real Kids, The Real Kids.
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.