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 Mauritius and from Toronto.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Madrid and Philadelphia.
I'm losing my edge to the art-school Mexico City 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 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 Interpol to the grunge kids.
I played it at the Hacienda.
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 Pantytec. All the underground hits.
All Young Marble Giants tracks. I heard you have a vinyl of every Bootsy Collins record on German import.
I heard that you have a white label of every seminal grunge 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 chamberlin and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Marc Almond record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cluster,
Warren Ellis,
Nick Fraelich,
The Fortunes,
Bang on a Can All-Stars,
New York Dolls,
The Selecter,
New Age Steppers,
Whodini,
a-ha,
Lee Hazlewood,
Country Joe & The Fish,
Skarface,
Röyhkä ja Rättö ja Lehtisalo,
Todd Terry,
Mandrill,
Ultimate Spinach,
Rakim,
Avey Tare & Kría Brekkan,
X-102,
Rhythm & Sound,
the Soft Cell,
The Blackbyrds,
Average White Band,
Delta 5,
Urselle,
The Invisible,
Nils Olav,
Curtis Mayfield,
Juan Atkins,
Country Teasers,
Roxette,
Grey Daturas,
Ossler,
Faust,
Ajijia Myrayebe,
Strawberry Alarm Clock,
The Evens,
Pylon,
Ronnie Foster,
T. Rex,
The Raincoats,
Banda Bassotti,
Jawbox,
Bluetip,
The Gories,
Minor Threat,
The Slits,
Nik Kershaw,
China Crisis,
The Fire Engines,
The Fugs,
Mark Hollis,
Heaven 17,
Drive Like Jehu,
Albert Ayler,
Gichy Dan,
Soul Sonic Force,
Tim Buckley,
Eric Copeland,
The Searchers,
Motorama,
The Techniques,
Minny Pops, Minny Pops, Minny Pops, Minny Pops.
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.