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 Australia and from Delhi.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Cairo and Calgary.
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 2001 at the first Tiga practice in a loft in Montreal.
I was working on the güiro 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 Public Image Ltd. to the disco kids.
I played it at the Troubador.
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 Andrew Hill. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every Deadbeat 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 '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Bob Dylan record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
K-Klass,
Soft Machine,
Mark Hollis,
The Moleskins,
Janne Schatter,
Lungfish,
Cabaret Voltaire,
L. Decosne,
Sad Lovers and Giants,
Oblivians,
Clear Light,
Alice Coltrane,
ABBA,
Piero Umiliani,
Cecil Taylor,
Avey Tare,
Lucky Dragons,
The Move,
The Neon Judgement,
Brick,
New Order,
Lightning Bolt,
Adolescents,
Maurizio,
Kevin Saunderson,
Henry Cow,
Wally Richardson,
Peter and Kerry,
The Monks,
Schoolly D,
This Heat,
Terror Squad Feat. Camron,
Procol Harum,
Pagans,
London Community Gospel Choir,
Agitation Free,
Wasted Youth,
Infiniti,
Supertramp,
The Evens,
Matthew Bourne,
Eve St. Jones,
Von Mondo,
Rowland S Howard / Lydia Lunch,
The Red Krayola,
the Swans,
Kenny Larkin,
Be Bop Deluxe,
the Bar-Kays,
Nation of Ulysses,
The Men They Couldn't Hang,
Roxy Music,
Zero Boys,
Anthony Braxton,
The Slits,
Black Moon,
Bill Near,
Electric Light Orchestra,
Black Flag,
Siouxsie and the Banshees,
Trumans Water, Trumans Water, Trumans Water, Trumans Water.
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.