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 Taiwan and from Mexico City.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1971.
I'm losing my edge.
To all the kids in Salvador and Cairo.
I'm losing my edge to the art-school Lyon 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 linndrum sounds with much patience.
I was there when David Bowie 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 Bill Near to the electroclash kids.
I played it at Cafe Wha.
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 Rakim. All the underground hits.
All Royal Trux tracks. I heard you have a vinyl of every Dennis Brown 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 '80s cut and another box set from the '70s.
I hear you're buying a spring reverb and a harpsichord 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 spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bob Dylan,
Alison Limerick,
Whodini,
Rapeman,
Scientists,
Toni Rubio,
Monolake,
Sixth Finger,
Lizzy Mercier Descloux,
Fifty Foot Hose,
Marmalade,
The Cramps,
Gang Starr,
Q65,
Dead Boys,
Donny Hathaway,
Arab on Radar,
Eric Copeland,
Sunsets and Hearts,
Wire,
One Last Wish,
Faraquet,
Soft Machine,
Eyeless In Gaza,
Nirvana,
Man Eating Sloth,
Sällskapet,
Boredoms,
Joy Division,
Sly & The Family Stone,
Bauhaus,
Camberwell Now,
Jesper Dahlbäck,
PIL,
Desert Stars,
E-Dancer,
Fela Kuti,
MC5,
The Gun Club,
Angry Samoans,
Heavy D & The Boyz,
Kaleidoscope,
Grandmaster Flash,
The Move,
Pantaleimon,
The Birthday Party,
Thinking Fellers Union Local 282,
Panda Bear,
Howard Jones,
The Human League,
Lou Reed,
Kerrie Biddell,
Frankie Knuckles,
Procol Harum,
The Star Department,
Guru Guru,
Pagans,
Flipper,
Bizarre Inc.,
Rod Modell,
Japan,
The Smoke,
Jacob Miller, Jacob Miller, Jacob Miller, Jacob Miller.
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.