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 Kazakhstan and from Jakarta.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Beijing and Jakarta.
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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the snare sounds with much patience.
I was there when Michael McDonald 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 Names to the punk 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 Nick Cave & The Bad Seeds. All the underground hits.
All Unrelated Segments tracks. I heard you have a vinyl of every The Happenings record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Letta Mbulu record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pierre Henry,
Deakin,
The Fire Engines,
The Dave Clark Five,
Unrelated Segments,
Roy Ayers Ubiquity,
Quadrant,
Bauhaus,
Colin Newman,
Gang of Four,
The New Christs,
The J.B.'s,
Dead Boys,
Motorama,
Traffic Nightmare,
James Chance & The Contortions,
Kurtis Blow,
10cc,
Bob Dylan,
Sexual Harrassment,
Robert Hood,
Judy Mowatt,
Neu!,
Susan Cadogan,
Ornette Coleman,
Bizarre Inc.,
Spoonie Gee,
Audionom,
Lindisfarne,
Royal Trux,
The Music Machine,
Avey Tare's Slasher Flicks,
Jesper Dahlbäck,
Rapeman,
Kayak,
Hot Snakes,
Eric Copeland,
Sun Ra,
The Young Rascals,
Eric Dolphy,
Marmalade,
Half Japanese,
Leonard Cohen,
Drive Like Jehu,
Lebanon Hanover,
Throbbing Gristle,
Monks,
Fear,
Derrick Morgan,
Wire,
Joyce Sims,
The Victims,
Fluxion,
Carl Craig,
Bluetip,
Symarip,
Quantec,
Heavy D & The Boyz,
Alison Limerick,
The United States of America,
Iggy Pop,
Joensuu 1685,
The Monks,
The Blackbyrds, The Blackbyrds, The Blackbyrds, The Blackbyrds.
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.