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 Slovenia and from Bremen.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Accra.
I'm losing my edge to the art-school Johannesburg 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 chamberlin 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 the Association to the grunge 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 The Searchers. All the underground hits.
All Negative Approach tracks. I heard you have a vinyl of every Underground Resistance record on German import.
I heard that you have a white label of every seminal grime 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 marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Idris Muhammad record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alton Ellis,
Urselle,
Arcadia,
Electric Light Orchestra,
Marmalade,
The Real Kids,
Mission of Burma,
Saccharine Trust,
The Dirtbombs,
Jawbox,
Royal Trux,
Pierre Henry,
Eve St. Jones,
The Names,
Dark Day,
Ponytail,
Motorama,
The Fire Engines,
Sam Rivers,
Essential Logic,
The Gun Club,
Rahsaan Roland Kirk,
the Soft Cell,
Metal Thangz,
The Kinks,
Gary Puckett & The Union Gap,
Man Parrish,
Junior Murvin,
Ultra Naté,
Janne Schatter,
Sad Lovers and Giants,
Michelle Simonal,
Oblivians,
One Last Wish,
Suicide,
Jerry Gold Smith,
Smog,
The Mummies,
Visage,
The Zeros,
Echo & the Bunnymen,
The Martian,
Ten City,
Avey Tare's Slasher Flicks,
Los Fastidios,
Manfred Mann's Earth Band,
Cluster,
R.M.O.,
The Buckinghams,
T.S.O.L.,
Vaughan Mason & Crew,
Hot Snakes,
Kauko Röyhkä ja Narttu,
Camron Feat. Memphis Bleek And Beenie Seigel,
Josef K,
Jeff Lynne,
Wire,
Scratch Acid,
Groovy Waters,
Lungfish,
Amon Düül II,
Altered Images,
Bluetip, Bluetip, Bluetip, Bluetip.
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.