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 Chad and from Tokyo.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1970.
I'm losing my edge.
To all the kids in Philadelphia and Seoul.
I'm losing my edge to the art-school Shanghai 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 clarinet sounds with much patience.
I was there when Robert Palmer 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 Vladislav Delay to the punk kids.
I played it at the Astoria.
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 Major Organ And The Adding Machine. All the underground hits.
All Art Ensemble Of Chicago tracks. I heard you have a vinyl of every New Order 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 '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Mojo Men record.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Icehouse,
Darondo,
The Trojans,
Massinfluence,
Saccharine Trust,
Gang of Four,
EPMD,
Severed Heads,
Bobby Hutcherson,
Supertramp,
Matthew Bourne,
Scion,
Mo-Dettes,
These Immortal Souls,
Lafayette Afro Rock Band,
Red Lorry Yellow Lorry,
James Chance & The Contortions,
Von Mondo,
Lungfish,
Adolescents,
The Golliwogs,
Peter Gordon & Love of Life Orchestra,
Vladislav Delay,
Deepchord,
Lakeside,
UT,
Liaisons Dangereuses,
Glambeats Corp.,
Jawbox,
Dawn Penn,
Susan Cadogan,
Warren Ellis,
Beasts of Bourbon,
The Gories,
The Happenings,
Neu!,
the Normal,
Drive Like Jehu,
The Mighty Diamonds,
The Fortunes,
Ice-T,
Soul Sonic Force,
Jerry Gold Smith,
Qualms,
Eden Ahbez,
Brass Construction,
Lucky Dragons,
The Men They Couldn't Hang,
Joey Negro,
Siouxsie and the Banshees,
Mark Hollis,
Zero Boys,
Los Fastidios,
Parry Music,
The Techniques,
Moby Grape,
Public Image Ltd.,
Tropical Tobacco,
Japan,
Terrestrial Tones,
Marcia Griffiths,
La Düsseldorf,
Lalann,
Minutemen,
Excepter, Excepter, Excepter, Excepter.
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.