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 Maldives and from Tokyo.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Winnipeg and Lille.
I'm losing my edge to the art-school Toronto 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 arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 Mary Jane Girls to the rock kids.
I played it at Trash.
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 Half Japanese. All the underground hits.
All Selector Dub Narcotic tracks. I heard you have a vinyl of every The Peanut Butter Conspiracy record on German import.
I heard that you have a white label of every seminal jazz 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 an organ and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Cowsills record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glenn Branca,
Orchestral Manoeuvres in the Dark,
Crash Course in Science,
Super Lover Cee & Casanova Rud,
June of 44,
Quadrant,
Crispian St. Peters,
Pylon,
Pere Ubu,
Motorama,
Monolake,
Bush Tetras,
Soulsonic Force,
Rod Modell,
Roxy Music,
Joe Finger,
Lucky Dragons,
The Residents,
The Human League,
Mad Mike,
Joyce Sims,
Y Pants,
UT,
Barry Ungar,
Alton Ellis,
the Slits,
Supertramp,
Colin Newman,
Throbbing Gristle,
Bizarre Inc.,
Laurel Aitken,
New Age Steppers,
Roger Hodgson,
Susan Cadogan,
The Cosmic Jokers,
The American Breed,
Symarip,
Todd Rundgren,
The Skatalites,
Al Stewart,
Sam Rivers,
Delon & Dalcan,
Chris & Cosey,
Sparks,
Davy DMX,
Pharaoh Sanders and the Fire Engines,
Sun City Girls,
Bauhaus,
Dawn Penn,
Nik Kershaw,
Notorious BIG live in Amsterdam,
Ken Boothe,
These Immortal Souls,
Easy Going,
T. Rex,
Gary Puckett & The Union Gap,
Ludus,
Yellowson,
Robert Wyatt,
Reuben Wilson,
KRS-One,
John Lydon, John Lydon, John Lydon, John Lydon.
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.