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 Italy and from Cairo.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Portland and Shanghai.
I'm losing my edge to the art-school Manila 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 1976 at the first Chic practice in a loft in New York.
I was working on the chamberlin 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 Fluxion to the jazz kids.
I played it at the Spitz.
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 Blake Baxter. All the underground hits.
All Peter and Kerry tracks. I heard you have a vinyl of every The Real Kids record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Popol Vuh record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Searchers,
Barry Ungar,
Flipper,
Graham Central Station,
Kurtis Blow,
Minny Pops,
Tom Boy,
Smog,
Public Enemy,
The Doobie Brothers,
The Kinks,
Pussy Galore,
Deutsch Amerikanische Freundschaft,
8 Eyed Spy,
Interpol,
Bobby Byrd,
the Fania All-Stars,
Louis and Bebe Barron,
Dennis Brown,
Chris & Cosey,
Andrew Ashong & Theo Parrish,
Robert Hood,
Soul Sonic Force,
The Modern Lovers,
The West Coast Pop Art Experimental Band,
Yellowson,
The Sonics,
The Shadows of Knight,
Tomorrow,
The Martian,
CMW,
Kerrie Biddell,
Jesper Dahlback,
Shuggie Otis,
The Monks,
Angels of Light & Akron/Family,
Second Layer,
Talk Talk,
Eurythmics,
The Victims,
10cc,
Throbbing Gristle,
Derrick Morgan,
Inner City,
Boredoms,
Jerry's Kids,
Matthew Bourne,
Bootsy Collins,
The Index,
Super Lover Cee & Casanova Rud,
Dark Day,
Siouxsie and the Banshees,
Slave,
Young Marble Giants,
The Fugs,
T.S.O.L.,
Audionom,
Fort Wilson Riot,
a-ha,
The Selecter,
Bob Dylan,
The Fall, The Fall, The Fall, The Fall.
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.