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 Georgia and from Seoul.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1975.
I'm losing my edge.
To all the kids in Milan and Johannesburg.
I'm losing my edge to the art-school Taipei 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Angry Samoans to the dance kids.
I played it at Trash.
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 Victims. All the underground hits.
All Wighnomy Brothers & Robag Wruhme tracks. I heard you have a vinyl of every Ken Boothe record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Flash Fearless record.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
The Mummies,
Sam Rivers,
Deutsch Amerikanische Freundschaft,
Slick Rick,
The Remains,
X-Ray Spex,
Royal Trux,
Moebius,
Eli Mardock,
Los Fastidios,
T. Rex,
JFA,
The Evens,
Sex Pistols,
Fad Gadget,
Con Funk Shun,
Mad Mike,
Louis and Bebe Barron,
Joensuu 1685,
James Chance & The Contortions,
Roxette,
Iggy Pop,
Terry Callier,
Roy Ayers Ubiquity,
The Divine Comedy,
Neu!,
The Blackbyrds,
Delta 5,
Black Moon,
Absolute Body Control,
Colin Newman,
Delon & Dalcan,
The Skatalites,
Hashim,
Sight & Sound,
Mary Jane Girls,
Quadrant,
The Selecter,
Steve Hackett,
R.M.O.,
Quando Quango,
David Bowie,
Susan Cadogan,
DeepChord presents Echospace,
Faraquet,
Rotary Connection,
Bootsy Collins,
The Victims,
Jesper Dahlbäck,
Sound Behaviour,
Tomorrow,
Silicon Teens,
Camron Feat. Memphis Bleek And Beenie Seigel,
Avey Tare & Kría Brekkan,
Electric Light Orchestra,
Peter & Gordon,
Brick,
Byron Stingily,
The Names,
The Slits,
The Count Five, The Count Five, The Count Five, The Count Five.
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.