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 Mali and from Tehran.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Copenhagen.
I'm losing my edge to the art-school Paris 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 1973 at the first Television practice in a loft in New York.
I was working on the oboe sounds with much patience.
I was there when Michael McDonald 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 Tropical Tobacco to the grunge 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 Aaron Thompson. All the underground hits.
All Red Lorry Yellow Lorry tracks. I heard you have a vinyl of every Iggy Pop record on German import.
I heard that you have a white label of every seminal punk 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 theremin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Crime record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Ronan,
Livin' Joy,
Deakin,
The Names,
Sarah Menescal,
David Bowie,
Ash Ra Tempel,
kango's stein massive,
Stereo Dub,
DeepChord presents Echospace,
The Gun Club,
Niagra,
Bang On A Can,
Unwound,
The Durutti Column,
The Last Poets,
The Gories,
Röyhkä ja Rättö ja Lehtisalo,
Manfred Mann's Earth Band,
The Human League,
Marc Romboy vs. Booka Shade,
Prince Buster,
Bronski Beat,
Country Teasers,
Monolake,
The Skatalites,
The Happenings,
Boogie Down Productions,
Swell Maps,
Letta Mbulu,
Joensuu 1685,
James Chance & The Contortions,
Dark Day,
Orchestral Manoeuvres in the Dark,
Byron Stingily,
David McCallum,
Mars,
The Men They Couldn't Hang,
London Community Gospel Choir,
The Fugs,
Electric Light Orchestra,
Jesper Dahlbäck,
The Fuzztones,
Nik Kershaw,
Joe Finger,
Duran Duran,
The Electric Prunes,
Lyres,
Rhythm & Sound,
Fluxion,
The Kinks,
Roy Ayers Ubiquity,
Silicon Teens,
Fad Gadget,
UT,
The Vogues,
Davy DMX,
Lee Hazlewood, Lee Hazlewood, Lee Hazlewood, Lee Hazlewood.
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.