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 Moldova and from Lille.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Lille and Taipei.
I'm losing my edge to the art-school Halifax 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine 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 Brass Construction to the rock kids.
I played it at CBGB's.
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 Heavy D & The Boyz. All the underground hits.
All Lonnie Liston Smith tracks. I heard you have a vinyl of every the Fania All-Stars record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a the Germs record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pretty Things,
L. Decosne,
Mary Jane Girls,
Jeff Mills,
The Zeros,
Glambeats Corp.,
The Saints,
Mr. Review,
Rekid,
Thee Headcoats,
AZ,
Minny Pops,
Dorothy Ashby,
Barrington Levy,
Lou Reed & Metallica,
The Flesh Eaters,
Laurel Aitken,
Orchestral Manoeuvres in the Dark,
The Peanut Butter Conspiracy,
Minor Threat,
Bizarre Inc.,
T.S.O.L.,
Rites of Spring,
The Fire Engines,
Wire,
Terrestrial Tones,
The Fortunes,
Boredoms,
Freddie Wadling,
The Skatalites,
In Retrospect,
Saccharine Trust,
Fatback Band,
The Royal Family And The Poor,
Grandmaster Flash and the Furious Five,
The Mummies,
Brass Construction,
The Index,
Crispy Ambulance,
Duran Duran,
Roy Ayers,
Royal Trux,
Alphaville,
Rahsaan Roland Kirk,
Avey Tare & Kría Brekkan,
Wally Richardson,
Deakin,
Nick Fraelich,
Nirvana,
Marcia Griffiths,
Moebius,
Boz Scaggs,
Vaughan Mason & Crew,
CMW,
the Association,
Audionom,
Echo & the Bunnymen,
Harpers Bizarre,
John Foxx,
Skriet,
The Slits,
The New Christs,
Wolf Eyes, Wolf Eyes, Wolf Eyes, Wolf Eyes.
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.