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 Finland and from Accra.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1965 to 1973.
I'm losing my edge.
To all the kids in Lagos and Manchester.
I'm losing my edge to the art-school Portland 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 Nile Rodgers 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 Ten City to the electroclash kids.
I played it at the Spitz.
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 Reagan Youth. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every FM Einheit record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a The Victims record.
I hear that you and your band have sold your theremin and bought a marimba.
I hear that you and your band have sold your marimba and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Röyhkä ja Rättö ja Lehtisalo,
The Electric Prunes,
Spandau Ballet,
Popol Vuh,
A Certain Ratio,
Selector Dub Narcotic,
Lucky Dragons,
Flash Fearless,
The Dirtbombs,
Dead Boys,
Sun Ra,
Cal Tjader,
Siglo XX,
Michelle Simonal,
DJ Sneak,
Marc Almond,
Amon Düül II,
Jesper Dahlback,
Bush Tetras,
Hashim,
The Red Krayola,
Main Source,
Rowland S Howard / Lydia Lunch,
Oppenheimer Analysis,
The Black Dice,
Kurtis Blow,
Bill Wells,
Fugazi,
Pylon,
Roxy Music,
Archie Shepp,
Model 500,
Black Flag,
MDC,
Connie Case,
The Star Department,
the Normal,
Swans,
Piero Umiliani,
Lakeside,
Bang on a Can All-Stars,
The Slackers,
Eric Copeland,
Danielle Patucci,
Country Teasers,
Second Layer,
Skaos,
The Raincoats,
Sister Nancy,
Moss Icon,
Masters at Work,
Ohio Players,
Blossom Toes,
Jeru the Damaja,
Toni Rubio,
The West Coast Pop Art Experimental Band,
Camberwell Now,
The Shadows of Knight,
It's A Beautiful Day,
John Holt,
Das Ding,
Soul II Soul,
R.M.O., R.M.O., R.M.O., R.M.O..
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.