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 Colombia and from Halifax.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1975.
I'm losing my edge.
To all the kids in Spokane and Manila.
I'm losing my edge to the art-school Houston 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 güiro 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 Hasil Adkins to the jazz kids.
I played it at the Spitz.
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 Vladislav Delay. All the underground hits.
All Bobbi Humphrey tracks. I heard you have a vinyl of every Swell Maps record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Soft Cell 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?
Minor Threat,
Thee Headcoats,
Bang On A Can,
It's A Beautiful Day,
Eric Copeland,
The Mummies,
DNA,
The Peanut Butter Conspiracy,
The Trojans,
Sad Lovers and Giants,
Grauzone,
Vainqueur,
Jimmy McGriff,
The Litter,
Con Funk Shun,
Ronan,
Alison Limerick,
Josef K,
Sam Rivers,
Mars,
8 Eyed Spy,
Lightning Bolt,
Vladislav Delay,
Nas,
Scientists,
The Electric Prunes,
Jacques Brel,
the Fania All-Stars,
Yellowson,
The Wake,
Marmalade,
Minutemen,
Japan,
London Community Gospel Choir,
Tomorrow,
Moss Icon,
Soulsonic Force,
The Sisters of Mercy,
These Immortal Souls,
Bobby Sherman,
The Standells,
Dark Day,
Pet Shop Boys,
The Fortunes,
Harry Pussy,
In Retrospect,
James Chance & The Contortions,
The Barracudas,
Fluxion,
Shoche,
Röyhkä ja Rättö ja Lehtisalo,
Guru Guru,
Mark Hollis,
Reuben Wilson,
Maleditus Sound,
Marcia Griffiths,
Scion,
The Cure,
Make Up,
Sight & Sound,
Man Parrish,
David Bowie, David Bowie, David Bowie, David Bowie.
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.