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 Kenya and from Paris.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Sao Paulo and Mexico City.
I'm losing my edge to the art-school Tokyo 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 marimba 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 The Names 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 Deutsch Amerikanische Freundschaft. All the underground hits.
All Andrew Ashong & Theo Parrish tracks. I heard you have a vinyl of every Alphaville record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a sitar and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Rotary Connection record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wire,
The Barracudas,
Pharoah Sanders,
The J.B.'s,
Oneida,
Scion,
Roy Ayers Ubiquity,
Motorama,
Underground Resistance,
Cal Tjader,
Mad Mike,
Super Lover Cee & Casanova Rud,
Bang on a Can All-Stars,
Can,
Joensuu 1685,
Skriet,
Ohio Players,
Eve St. Jones,
Country Joe & The Fish,
Deadbeat,
48th St. Collective,
Slave,
Piero Umiliani,
The Fugs,
Little Man,
Aural Exciters,
Man Parrish,
Kayak,
Louis and Bebe Barron,
the Human League,
Lalann,
Unrelated Segments,
Susan Cadogan,
Morten Harket,
Shuggie Otis,
Visionaries,LMNO, T- Love & Iriscience,
Half Japanese,
Todd Rundgren,
Gary Puckett & The Union Gap,
Ultramagnetic MC's,
The Trojans,
Cameo,
Robert Hood,
Sexual Harrassment,
Blancmange,
Ultimate Spinach,
Sugar Minott,
The Blackbyrds,
Ultra Naté,
Audionom,
Angels of Light & Akron/Family,
Captain Beefheart & His Magic Band,
Sam Rivers,
Radiohead,
Tom Boy,
This Heat,
Andrew Hill,
Grandmaster Flash and the Furious Five,
Ken Boothe,
Nirvana,
The Doobie Brothers,
Derrick Morgan,
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.