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 Ghana and from Shanghai.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Woodstock and Portland.
I'm losing my edge to the art-school Tehran 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 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 the Soft Cell to the electroclash kids.
I played it at the Crocodile.
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 Mary Jane Girls. All the underground hits.
All The Zeros tracks. I heard you have a vinyl of every Mad Mike 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 '70s cut and another box set from the '90s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Delon & Dalcan 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?
Sunsets and Hearts,
Wire,
Prince Buster,
The United States of America,
MC5,
Reuben Wilson,
Public Image Ltd.,
Babytalk,
June Days,
Kool Moe Dee,
Icehouse,
48th St. Collective,
Vladislav Delay,
Duran Duran,
DJ Style,
Gastr Del Sol,
Siouxsie and the Banshees,
The Monochrome Set,
Underground Resistance,
Q and Not U,
Nico,
Ultramagnetic MC's,
Man Parrish,
Jesper Dahlback,
Unwound,
Black Bananas,
PIL,
Royal Trux,
Roy Ayers Ubiquity,
Zero Boys,
The Birthday Party,
Brothers Johnson,
Röyhkä ja Rättö ja Lehtisalo,
Bizarre Inc.,
Ultravox,
Rufus Thomas,
Black Pus,
John Foxx,
Larry & the Blue Notes,
Ken Boothe,
Barclay James Harvest,
Amon Düül II,
Urselle,
Monks,
Throbbing Gristle,
Flash Fearless,
Altered Images,
Rhythm & Sound,
Patti Smith,
The Dave Clark Five,
Average White Band,
Unrelated Segments,
Bootsy's Rubber Band,
Skriet,
Half Japanese,
Lightning Bolt,
Bill Near,
La Düsseldorf, La Düsseldorf, La Düsseldorf, La Düsseldorf.
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.