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 Korea South and from Manila.
But I was there.
I was there in 1973.
I was there at the first Television 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 1960 to 1974.
I'm losing my edge.
To all the kids in New York and Bremen.
I'm losing my edge to the art-school Paris 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 theremin 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 New Age Steppers to the electroclash 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 Idris Muhammad. All the underground hits.
All Ituana tracks. I heard you have a vinyl of every Mandrill 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 '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Leaves record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Technova,
Bauhaus,
Pierre Henry,
The Busters,
Sad Lovers and Giants,
Quando Quango,
X-101,
Bobbi Humphrey,
Lee Hazlewood,
Gang Gang Dance,
Echo & the Bunnymen,
New York Dolls,
Black Moon,
Rahsaan Roland Kirk,
Wire,
Electric Light Orchestra,
The Beau Brummels,
Bill Wells,
Orchestral Manoeuvres in the Dark,
Rod Modell,
Gong,
the Association,
Anakelly,
Ten City,
Aloha Tigers,
Thee Headcoats,
The New Christs,
Arthur Verocai,
Youth Brigade,
Patti Smith,
Moss Icon,
Funky Four + One,
Max Romeo,
The Electric Prunes,
Byron Stingily,
Boredoms,
The Moleskins,
the Normal,
Unwound,
Massinfluence,
Black Flag,
Young Marble Giants,
Yellowson,
Man Eating Sloth,
Talk Talk,
Gerry Rafferty,
The Black Dice,
Mo-Dettes,
Boogie Down Productions,
Negative Approach,
The Martian,
The Index,
The Cowsills,
Hoover,
Nick Fraelich,
Robert Wyatt,
Thinking Fellers Union Local 282,
Flamin' Groovies,
Silicon Teens,
Harmonia,
Notorious Big And Bone Thugs,
Popol Vuh, Popol Vuh, Popol Vuh, Popol Vuh.
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.