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 Lithuania and from Philadelphia.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Tokyo.
I'm losing my edge to the art-school New York 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 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer 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 electroclash kids.
I played it at the Roxy.
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 Ultimate Spinach. All the underground hits.
All K-Klass tracks. I heard you have a vinyl of every Sister Nancy record on German import.
I heard that you have a white label of every seminal electroclash 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 güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Cramps record.
I hear that you and your band have sold your marimba and bought a 808.
I hear that you and your band have sold your 808 and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Smoke,
Laurel Aitken,
Brass Construction,
Franke,
Teenage Jesus and the Jerks,
Max Romeo,
Howard Jones,
The Litter,
Lou Reed,
Kerri Chandler,
Derrick Morgan,
Gian Franco Pienzio,
Public Enemy,
Nils Olav,
Pete Rock & C.L. Smooth,
the Soft Cell,
Wasted Youth,
Henry Cow,
Nas,
The Smiths,
Fifty Foot Hose,
Carl Craig,
Soft Machine,
Hasil Adkins,
Freddie Wadling,
Sister Nancy,
Liliput,
Barry Ungar,
The Sonics,
Liaisons Dangereuses,
Barrington Levy,
Sandy B,
Deadbeat,
The Selecter,
Reagan Youth,
the Association,
Slick Rick,
MC5,
The Chocolate Watch Band,
Audionom,
Quadrant,
Main Source,
L. Decosne,
Heaven 17,
Ludus,
Larry & the Blue Notes,
Brick,
Eric Copeland,
Jeru the Damaja,
The United States of America,
The Gories,
Crispian St. Peters,
Donald Byrd,
Altered Images,
Grandmaster Flash and the Furious Five,
Khruangbin,
Pere Ubu,
Chrome,
Aaron Thompson,
Lou Christie,
Black Sheep,
Intrusion,
Terrestrial Tones, Terrestrial Tones, Terrestrial Tones, Terrestrial Tones.
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.