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 Grenada and from Salvador.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Toronto and Houston.
I'm losing my edge to the art-school Paris 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 rhodes 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 Wire to the electroclash 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 Wolf Eyes. All the underground hits.
All Interpol tracks. I heard you have a vinyl of every Skriet record on German import.
I heard that you have a white label of every seminal funk 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 snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Major Organ And The Adding Machine record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba 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 Jesus and Mary Chain,
Louis and Bebe Barron,
Aural Exciters,
Warsaw,
Dorothy Ashby,
Alton Ellis,
Junior Murvin,
Swans,
The Last Poets,
Arcadia,
The Red Krayola,
Talk Talk,
Fad Gadget,
Janne Schatter,
Thee Headcoats,
Desert Stars,
The Moody Blues,
Teenage Jesus and the Jerks,
Röyhkä ja Rättö ja Lehtisalo,
Kerrie Biddell,
the Fania All-Stars,
Flash Fearless,
Arthur Verocai,
the Sonics,
Fluxion,
Q and Not U,
The Walker Brothers,
Davy DMX,
Bush Tetras,
The Five Americans,
The Divine Comedy,
Inner City,
The Fugs,
Quantec,
Ronnie Foster,
Terrestrial Tones,
Rekid,
Audionom,
Sexual Harrassment,
Accadde A,
Q65,
The Angels of Light,
Ice-T,
Nation of Ulysses,
A Flock of Seagulls,
The Buckinghams,
Radio Birdman,
Youth Brigade,
The Moleskins,
The Standells,
Yellowson,
Mad Mike,
Clear Light,
Lalo Schifrin,
B.T. Express,
Motorama,
Angels of Light & Akron/Family,
Barclay James Harvest,
Warren Ellis,
The Techniques,
Cluster,
Kauko Röyhkä ja Narttu,
Avey Tare, Avey Tare, Avey Tare, Avey Tare.
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.