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 Belgium and from Cairo.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1978.
I'm losing my edge.
To all the kids in Portland and Beijing.
I'm losing my edge to the art-school Winnipeg 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the linndrum 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 Inner City to the dance 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 Minny Pops. All the underground hits.
All Rapeman tracks. I heard you have a vinyl of every Cameo 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 '70s cut and another box set from the '90s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your marimba and bought a theremin.
I hear that you and your band have sold your theremin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grauzone,
The American Breed,
Hoover,
Easy Going,
Tropical Tobacco,
Grey Daturas,
Deakin,
John Holt,
The Pretty Things,
Chris & Cosey,
Adolescents,
Wighnomy Brothers & Robag Wruhme,
Gil Scott-Heron and Jamie xx,
Eric B and Rakim,
Icehouse,
Depeche Mode,
Pantaleimon,
Motorama,
The Gladiators,
The Mummies,
Gichy Dan,
Stiv Bators,
Rotary Connection,
The Selecter,
Erasure,
Yellowson,
Lou Reed,
Wings,
The Men They Couldn't Hang,
Kerrie Biddell,
Dorothy Ashby,
The Sonics,
Sight & Sound,
Q and Not U,
David McCallum,
Mr. Review,
The Evens,
The Blackbyrds,
The Dead C,
Con Funk Shun,
Gil Scott-Heron & Brian Jackson,
James White and The Blacks,
Amon Düül,
DJ Sneak,
A Certain Ratio,
Be Bop Deluxe,
The Real Kids,
Average White Band,
The Cosmic Jokers,
The Martian,
The Chocolate Watch Band,
Oneida,
Kaleidoscope,
Tomorrow,
Kenny Larkin,
Liliput,
Tim Buckley,
Lizzy Mercier Descloux,
Maurizio,
Sam Rivers,
Ultravox,
E-Dancer,
Judy Mowatt, Judy Mowatt, Judy Mowatt, Judy Mowatt.
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.