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 Rwanda and from London.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Lille and Philadelphia.
I'm losing my edge to the art-school Copenhagen 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the mellotron 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 The Barracudas to the rap kids.
I played it at the Astoria.
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 Moebius. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Reuben Wilson 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 '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Birthday Party,
The Golliwogs,
Bill Wells,
Grauzone,
Junior Murvin,
Unrelated Segments,
Underground Resistance,
Pylon,
Morten Harket,
Tim Buckley,
Khruangbin,
Sonic Youth,
London Community Gospel Choir,
Pantytec,
Dual Sessions,
A Flock of Seagulls,
Joey Negro,
Country Joe & The Fish,
John Holt,
Richard Hell and the Voidoids,
Lonnie Liston Smith,
Cymande,
PIL,
Lungfish,
Amon Düül II,
Mo-Dettes,
The Walker Brothers,
Aural Exciters,
Alice Coltrane,
Terror Squad Feat. Camron,
Accadde A,
Excepter,
Sister Nancy,
Joe Finger,
Tears for Fears,
Soft Cell,
Silicon Teens,
The Techniques,
F. McDonald,
Jandek,
Youth Brigade,
Scion,
Boredoms,
The Gories,
John Foxx,
The Residents,
Whodini,
The Kinks,
Radiopuhelimet,
Qualms,
the Human League,
Clear Light,
Sex Pistols,
The Buckinghams,
Crispy Ambulance,
The Slits,
MDC,
Roger Hodgson,
Bang on a Can All-Stars,
Harpers Bizarre,
Letta Mbulu,
The Durutti Column,
The Zeros,
In Retrospect, In Retrospect, In Retrospect, In Retrospect.
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.