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 Iraq and from Taipei.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Lyon and Tokyo.
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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the oboe sounds with much patience.
I was there when Nile Rodgers 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 Alison Limerick to the dance 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 Jeff Lynne. All the underground hits.
All Fugazi tracks. I heard you have a vinyl of every Ituana 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 '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Minny Pops record.
I hear that you and your band have sold your mellotron and bought a güiro.
I hear that you and your band have sold your güiro and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Subhumans,
Anthony Braxton,
Section 25,
Newcleus,
The Grass Roots,
Kurtis Blow,
Camron Feat. Memphis Bleek And Beenie Seigel,
Pete Rock & C.L. Smooth,
Gang Green,
The Blues Magoos,
Josef K,
Beasts of Bourbon,
Eric Copeland,
Joy Division,
Juan Atkins,
Reuben Wilson,
Eyeless In Gaza,
Trumans Water,
Ultravox,
Colin Newman,
The Chocolate Watch Band,
Angels of Light & Akron/Family,
Symarip,
The Standells,
Lalo Schifrin,
Country Teasers,
Nation of Ulysses,
The Residents,
Gregory Isaacs,
Glambeats Corp.,
Patti Smith,
Dual Sessions,
Sister Nancy,
The Saints,
New Order,
Warsaw,
New Age Steppers,
Black Sheep,
Kango’s Stein Massive,
The Victims,
Spoonie Gee,
The Count Five,
Bauhaus,
Brass Construction,
Mary Jane Girls,
The Jesus and Mary Chain,
John Coltrane,
Janne Schatter,
Sex Pistols,
The Fuzztones,
Neu!,
Average White Band,
Jesper Dahlback,
Alphaville,
Banda Bassotti,
Maurizio,
Malaria!,
The Star Department,
Larry & the Blue Notes,
Pere Ubu,
Fat Boys,
Pulsallama, Pulsallama, Pulsallama, Pulsallama.
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.