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 Algeria and from Toronto.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1973.
I'm losing my edge.
To all the kids in Accra and Halifax.
I'm losing my edge to the art-school Copenhagen 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 sitar 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 Barclay James Harvest to the funk 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 The Standells. All the underground hits.
All Ossler tracks. I heard you have a vinyl of every Ajijia Myrayebe record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
ABC,
Dawn Penn,
Notorious BIG live in Amsterdam,
Thinking Fellers Union Local 282,
The Mojo Men,
Radio Birdman,
Matthew Halsall,
The Zeros,
Unrelated Segments,
Bobby Womack,
Richard Hell and the Voidoids,
ABBA,
The Wake,
Duran Duran,
Kevin Saunderson,
Cymande,
The Monks,
Wire,
Malaria!,
Connie Case,
Don Cherry,
Barbara Tucker,
Radiohead,
Scan 7,
Grandmaster Flash,
Rufus Thomas,
Marshall Jefferson,
Brass Construction,
Model 500,
L. Decosne,
Chris Corsano,
The Pop Group,
Scott Walker + Sunn O))),
Harry Pussy,
The Smiths,
Babytalk,
Franke,
Nas,
Dave Gahan,
Fluxion,
Jeru the Damaja,
Andrew Ashong & Theo Parrish,
Bobby Hutcherson,
Bang on a Can All-Stars,
Sällskapet,
The Associates,
The Blues Magoos,
Lalann,
Grauzone,
The Royal Family And The Poor,
Ornette Coleman,
Rod Modell,
Joe Finger,
Arab on Radar,
The Knickerbockers,
Radiopuhelimet,
Stockholm Monsters,
The Motions,
Average White Band,
Silicon Teens,
Deutsch Amerikanische Freundschaft,
Delta 5, Delta 5, Delta 5, Delta 5.
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.