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 Zimbabwe and from New York.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1966 to 1978.
I'm losing my edge.
To all the kids in Houston and Sao Paulo.
I'm losing my edge to the art-school Taipei 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 marimba sounds with much patience.
I was there when Captain Beefheart 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 Doors to the grime kids.
I played it at the Hacienda.
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 The Flesh Eaters. All the underground hits.
All Girls At Our Best! tracks. I heard you have a vinyl of every Rahsaan Roland Kirk 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 '50s cut and another box set from the '90s.
I hear you're buying a guitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lower 48,
Rakim,
MC5,
OOIOO,
Television,
Interpol,
the Normal,
The Standells,
Peter and Kerry,
Black Sheep,
Section 25,
Strawberry Alarm Clock,
Mars,
Dennis Brown,
Bang On A Can,
Easy Going,
In Retrospect,
Wally Richardson,
Echo & the Bunnymen,
Delta 5,
John Holt,
Max Romeo,
The Happenings,
Index,
Buzzcocks,
Fugazi,
Subhumans,
Ronan,
KRS-One,
R.M.O.,
The Divine Comedy,
Banda Bassotti,
the Germs,
The Evens,
Simply Red,
Peter Gordon & Love of Life Orchestra,
Moby Grape,
Brass Construction,
The Gories,
Maurizio,
Livin' Joy,
Iggy Pop,
Justin Hinds & The Dominoes,
Orchestral Manoeuvres in the Dark,
Isaac Hayes,
The Real Kids,
Country Joe & The Fish,
Agitation Free,
the Slits,
Smog,
Juan Atkins,
Q and Not U,
Make Up,
Jerry Gold Smith,
Terry Callier,
John Lydon,
Accadde A,
Throbbing Gristle,
Brick,
The Moody Blues,
The Stooges,
The Black Dice,
Aaron Thompson, Aaron Thompson, Aaron Thompson, Aaron Thompson.
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.