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 France and from Shanghai.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Lille and Bremen.
I'm losing my edge to the art-school Portland 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the mellotron 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 La Düsseldorf to the disco kids.
I played it at the Crocodile.
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 Althea and Donna. All the underground hits.
All The Chocolate Watch Band tracks. I heard you have a vinyl of every Nik Kershaw 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 '70s cut and another box set from the '80s.
I hear you're buying a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Young Marble Giants record.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Red Lorry Yellow Lorry,
The Residents,
Soft Machine,
Curtis Mayfield,
Derrick Morgan,
LL Cool J,
The Electric Prunes,
The Divine Comedy,
Q and Not U,
Avey Tare's Slasher Flicks,
Little Man,
The Martian,
Marc Romboy vs. Booka Shade,
Pierre Henry,
the Bar-Kays,
Terry Callier,
Black Sheep,
Los Fastidios,
Kool Moe Dee,
Grandmaster Flash,
James Chance & The Contortions,
ABBA,
Oppenheimer Analysis,
The Remains,
The Sisters of Mercy,
The Modern Lovers,
A Certain Ratio,
The Motions,
Danielle Patucci,
Fear,
Y Pants,
Frankie Knuckles,
James White and The Blacks,
Pharaoh Sanders and the Fire Engines,
Dual Sessions,
Deepchord,
The Beau Brummels,
Yazoo,
The Slackers,
Alphaville,
Japan,
Bob Dylan,
Thinking Fellers Union Local 282,
the Slits,
Roy Ayers,
Scott Walker,
John Cale,
Leonard Cohen,
Ossler,
The Sonics,
Hardrive,
Bobby Hutcherson,
Erykah Badu,
La Düsseldorf,
David McCallum,
Index,
Monks,
Trumans Water,
Todd Rundgren,
The Peanut Butter Conspiracy,
Moss Icon,
Dorothy Ashby,
Tubeway Army, Tubeway Army, Tubeway Army, Tubeway Army.
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.