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 Marshall Islands and from Tokyo.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Halifax and Mexico City.
I'm losing my edge to the art-school Mumbai 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 güiro 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 The Five Americans to the rock kids.
I played it at the Astoria.
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 David McCallum. All the underground hits.
All Radio Birdman tracks. I heard you have a vinyl of every the Soft Cell record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Suicide record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Technova,
The Electric Prunes,
Von Mondo,
Nation of Ulysses,
Louis and Bebe Barron,
Gabor Szabo,
Magma,
Vaughan Mason & Crew,
Blossom Toes,
Delon & Dalcan,
Japan,
Drive Like Jehu,
Index,
Kings Of Tomorrow,
Kauko Röyhkä ja Narttu,
Funkadelic,
JFA,
Organ,
Moebius,
Robert Hood,
Quando Quango,
Darondo,
Brick,
Wally Richardson,
Subhumans,
Ohio Players,
Black Flag,
The Red Krayola,
Minny Pops,
Sarah Menescal,
Rhythm & Sound,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Colin Newman,
Sun Ra Arkestra,
Angry Samoans,
Can,
Swans,
KRS-One,
Marc Romboy vs. Booka Shade,
Outsiders,
Howard Jones,
The Motions,
Popol Vuh,
Bauhaus,
Agitation Free,
Brass Construction,
Das Ding,
Gong,
The Walker Brothers,
June Days,
MDC,
The Monks,
Country Joe & The Fish,
Pierre Henry,
Main Source,
Black Sheep,
Avey Tare's Slasher Flicks,
Niagra,
Arthur Verocai,
Avey Tare,
Orchestral Manoeuvres in the Dark,
Nas,
The Knickerbockers, The Knickerbockers, The Knickerbockers, The Knickerbockers.
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.