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 Russia and from Milan.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and London.
I'm losing my edge to the art-school Salvador 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the synthesizer sounds with much patience.
I was there when David Bowie 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 Evens to the punk 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 Pere Ubu. All the underground hits.
All Urselle tracks. I heard you have a vinyl of every The Buckinghams record on German import.
I heard that you have a white label of every seminal rock 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 808 and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Graham Central Station record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wire,
The Peanut Butter Conspiracy,
Deadbeat,
Malaria!,
Minnie Riperton,
Freddie Wadling,
Godley & Creme,
Maleditus Sound,
The Evens,
Flamin' Groovies,
Be Bop Deluxe,
Grauzone,
a-ha,
Black Pus,
The Smiths,
Gabor Szabo,
Scion,
Oppenheimer Analysis,
Johnny Clarke,
Tom Boy,
the Sonics,
Sun Ra Arkestra,
Basic Channel,
Laurel Aitken,
Frankie Knuckles,
Shoche,
Thee Headcoats,
Jesper Dahlback,
The Neon Judgement,
James Chance & The Contortions,
David McCallum,
Eddi Front,
Sarah Menescal,
cv313,
Rhythm & Sound,
The Knickerbockers,
Major Organ And The Adding Machine,
This Heat,
Selector Dub Narcotic,
Soulsonic Force,
Danielle Patucci,
Wally Richardson,
T. Rex,
kango's stein massive,
DeepChord presents Echospace,
Notorious Big And Bone Thugs,
The Star Department,
Al Stewart,
the Soft Cell,
Eric Copeland,
Peter & Gordon,
Eric Dolphy,
Angels of Light & Akron/Family,
Parry Music,
Mantronix,
Boogie Down Productions,
Main Source,
Soft Cell,
Lakeside,
John Cale,
Tears for Fears,
Lizzy Mercier Descloux,
The Walker Brothers, The Walker Brothers, The Walker Brothers, The Walker Brothers.
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.