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 Bahrain and from Winnipeg.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Edmonton.
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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 Neu! to the punk kids.
I played it at Cafe Wha.
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 Nico. All the underground hits.
All Essential Logic tracks. I heard you have a vinyl of every E-Dancer 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 '90s.
I hear you're buying a rhodes and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Buzzcocks record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jawbox,
Gary Puckett & The Union Gap,
The Smoke,
the Soft Cell,
Traffic Nightmare,
Technova,
The Move,
John Coltrane,
Model 500,
Alton Ellis,
Bad Manners,
Pantaleimon,
Jeff Mills,
Toni Rubio,
Selector Dub Narcotic,
Ornette Coleman,
The Cure,
New York Dolls,
Marc Almond,
Youth Brigade,
Blancmange,
Barry Ungar,
Inner City,
The Victims,
Faust,
Dead Boys,
The Sisters of Mercy,
The Index,
The Gap Band,
Kauko Röyhkä ja Narttu,
Bobby Sherman,
Quando Quango,
The Royal Family And The Poor,
F. McDonald,
Deakin,
Gang Gang Dance,
The Mojo Men,
K-Klass,
Smog,
Livin' Joy,
Sly & The Family Stone,
Donny Hathaway,
Bobbi Humphrey,
Crispy Ambulance,
Maleditus Sound,
The Sound,
X-102,
Cabaret Voltaire,
Radiohead,
T.S.O.L.,
Kayak,
Terrestrial Tones,
Lizzy Mercier Descloux,
Lou Reed & John Cale,
X-Ray Spex,
Alphaville,
Eric Copeland,
Bronski Beat,
Moebius,
Nik Kershaw, Nik Kershaw, Nik Kershaw, Nik Kershaw.
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.