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 France and from Manchester.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Toronto and Mexico City.
I'm losing my edge to the art-school Sao Paulo 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the linndrum sounds with much patience.
I was there when Captain Beefheart 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 Electric Prunes to the disco 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 The Alarm Clocks. All the underground hits.
All Pierre Henry tracks. I heard you have a vinyl of every Aural Exciters record on German import.
I heard that you have a white label of every seminal electroclash 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 güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Excepter record.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Don Cherry,
Pharoah Sanders,
Marvin Gaye,
Dead Boys,
Tears for Fears,
Joe Smooth,
Excepter,
Connie Case,
Ornette Coleman,
The Offenders,
Erykah Badu,
Fear,
Morten Harket,
Sound Behaviour,
Boredoms,
Bob Dylan,
Ice-T,
Manfred Mann's Earth Band,
Gil Scott Heron,
The Names,
The Move,
Mantronix,
Monolake,
Radiohead,
New York Dolls,
Accadde A,
Johnny Clarke,
The Fuzztones,
Wire,
Harpers Bizarre,
the Fania All-Stars,
Bootsy Collins,
Bobby Hutcherson,
Louis and Bebe Barron,
Bush Tetras,
Jandek,
DeepChord presents Echospace,
Ronan,
Black Pus,
Alphaville,
Heavy D & The Boyz,
Bobbi Humphrey,
Black Flag,
Delta 5,
Robert Wyatt,
Dave Gahan,
Sister Nancy,
Panda Bear,
Ken Boothe,
Lyres,
R.M.O.,
Echo & the Bunnymen,
John Foxx,
The Leaves,
Sad Lovers and Giants,
Gabor Szabo,
Erasure,
Dr. Dre and Snoop Doggy Dog,
Sällskapet,
Todd Terry,
The Mojo Men, The Mojo Men, The Mojo Men, The Mojo Men.
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.