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 Bolivia and from Lyon.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1971.
I'm losing my edge.
To all the kids in Accra and Manchester.
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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the arpeggiator 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 Velvet Underground to the rap 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 Royal Trux. All the underground hits.
All Porter Ricks tracks. I heard you have a vinyl of every Section 25 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 '50s cut and another box set from the '90s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Davy DMX,
Jacob Miller,
Kool G Rap & DJ Polo,
Henry Cow,
Loose Ends,
The Kinks,
Sonic Youth,
Eric Dolphy,
The Mojo Men,
the Slits,
Barbara Tucker,
Monks,
Pantaleimon,
The Neon Judgement,
The Pretty Things,
Lower 48,
E-Dancer,
Talk Talk,
Essential Logic,
Marc Romboy vs. Booka Shade,
Scrapy,
Jerry Gold Smith,
Gian Franco Pienzio,
Mission of Burma,
Ohio Players,
Manfred Mann's Earth Band,
Lakeside,
The Monks,
Shoche,
Delon & Dalcan,
DJ Sneak,
The Barracudas,
The Leaves,
Eli Mardock,
Pagans,
Lungfish,
Bad Manners,
The Beau Brummels,
Eurythmics,
Average White Band,
Das Ding,
The Invisible,
Quantec,
The Monochrome Set,
Rosa Yemen,
Country Teasers,
Steve Hackett,
Major Organ And The Adding Machine,
Public Enemy,
Symarip,
Charles Mingus,
Kango’s Stein Massive,
Terrestrial Tones,
Hoover,
Glenn Branca,
The Move,
Notorious Big And Bone Thugs,
Anakelly,
Make Up,
Ornette Coleman,
The Victims, The Victims, The Victims, The Victims.
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.