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 Latvia and from Shanghai.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1970.
I'm losing my edge.
To all the kids in New York and Manchester.
I'm losing my edge to the art-school Delhi 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the spring reverb sounds with much patience.
I was there when Donald Fagen 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 Eve St. Jones to the jazz kids.
I played it at the Roxy.
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 Ten City. All the underground hits.
All Neil Young & Crazy Horse tracks. I heard you have a vinyl of every The Jesus and Mary Chain 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 '80s.
I hear you're buying a spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Lower 48 record.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gian Franco Pienzio,
The Dirtbombs,
Magazine,
Selector Dub Narcotic,
Ornette Coleman,
The West Coast Pop Art Experimental Band,
Oneida,
Lebanon Hanover,
Cybotron,
One Last Wish,
Lee Hazlewood,
Soul II Soul,
Eyeless In Gaza,
John Lydon,
Circle Jerks,
Organ,
Pulsallama,
Subhumans,
Jandek,
The Walker Brothers,
Niagra,
Faraquet,
In Retrospect,
Theoretical Girls,
Howard Jones,
Pole,
The Doobie Brothers,
Alison Limerick,
The Leaves,
The Black Dice,
Tubeway Army,
Q and Not U,
Goldenarms,
Liliput,
Scientists,
Donny Hathaway,
Eden Ahbez,
Curtis Mayfield,
Mission of Burma,
Yusef Lateef,
Peter and Kerry,
MC5,
Marshall Jefferson,
Echospace,
Richard Hell and the Voidoids,
Scratch Acid,
Angels of Light & Akron/Family,
Pylon,
Neu!,
Interpol,
MDC,
Fifty Foot Hose,
KRS-One,
Flamin' Groovies,
Amon Düül,
E-Dancer,
Flipper,
Leonard Cohen,
Royal Trux,
Grey Daturas, Grey Daturas, Grey Daturas, Grey Daturas.
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.