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 Spain and from Philadelphia.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Copenhagen and Toronto.
I'm losing my edge to the art-school London 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 spring reverb sounds with much patience.
I was there when Holger Czukay 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 Associates to the grunge kids.
I played it at the 40 Watt.
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 Neil Young. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every The Doobie Brothers record on German import.
I heard that you have a white label of every seminal grunge 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 marimba and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your harpsichord and bought a 808.
I hear that you and your band have sold your 808 and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New York Dolls,
June of 44,
Outsiders,
Alphaville,
The Human League,
Deakin,
Marc Almond,
Heavy D & The Boyz,
Crispian St. Peters,
Shuggie Otis,
Country Teasers,
Bill Near,
Larry & the Blue Notes,
Juan Atkins,
Hardrive,
Minor Threat,
The Trojans,
Graham Central Station,
D'Angelo,
Howard Jones,
Maurizio,
The Jesus and Mary Chain,
Minutemen,
Tommy Roe,
Arab on Radar,
PIL,
Henry Cow,
Japan,
The Last Poets,
Orchestral Manoeuvres in the Dark,
Stiv Bators,
Country Joe & The Fish,
Saccharine Trust,
Cheater Slicks,
Boogie Down Productions,
The Pop Group,
The Count Five,
The Slackers,
Sarah Menescal,
John Coltrane,
Cal Tjader,
Maleditus Sound,
The Tremeloes,
Q and Not U,
Lightning Bolt,
Bang On A Can,
Popol Vuh,
Funkadelic,
The Smiths,
Derrick May,
The Velvet Underground,
John Foxx,
Arthur Verocai,
Essential Logic,
Fear,
Au Pairs,
Procol Harum,
FM Einheit,
Harmonia,
Erykah Badu,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.