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 Ireland and from Delhi.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Mexico City and Johannesburg.
I'm losing my edge to the art-school Woodstock 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 spring reverb sounds with much patience.
I was there when Robert Palmer 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 Ituana to the techno 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 Lizzy Mercier Descloux. All the underground hits.
All Eric Copeland tracks. I heard you have a vinyl of every Bang On A Can record on German import.
I heard that you have a white label of every seminal disco 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 a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fat Boys,
Sarah Menescal,
Tears for Fears,
Jandek,
Dave Gahan,
Eyeless In Gaza,
Absolute Body Control,
The Mighty Diamonds,
Arab on Radar,
Lou Reed,
the Normal,
Flash Fearless,
This Heat,
Accadde A,
Fifty Foot Hose,
Kool Moe Dee,
Scan 7,
Eddi Front,
B.T. Express,
Bush Tetras,
Camouflage,
Joey Negro,
Arthur Verocai,
Mantronix,
The Music Machine,
Matthew Halsall,
ABC,
The Moleskins,
Dennis Brown,
Sun Ra,
Wire,
Kas Product,
Liliput,
The Trojans,
ABBA,
Adolescents,
Glenn Branca,
Dorothy Ashby,
Susan Cadogan,
Lightning Bolt,
The Invisible,
MDC,
Mr. Review,
Chrome,
Neil Young,
Lee Hazlewood,
Thinking Fellers Union Local 282,
The Motions,
Wally Richardson,
Warren Ellis,
Rekid,
Dawn Penn,
Frankie Knuckles,
a-ha,
The Happenings,
Bobby Womack,
Pulsallama,
Eve St. Jones,
Rapeman,
Camberwell Now,
Y Pants,
Fort Wilson Riot,
These Immortal Souls,
Theoretical Girls,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.