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 Seychelles and from Jakarta.
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 1967 to 1978.
I'm losing my edge.
To all the kids in Bologna and Lyon.
I'm losing my edge to the art-school Philadelphia 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the snare 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 Sugar Minott to the rap 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 KRS-One. All the underground hits.
All Kenny Larkin tracks. I heard you have a vinyl of every Arthur Verocai record on German import.
I heard that you have a white label of every seminal disco 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 an arpeggiator and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Tom Boy record.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gian Franco Pienzio,
Kas Product,
The Evens,
Half Japanese,
Stereo Dub,
The Durutti Column,
Glenn Branca,
The Sisters of Mercy,
Louis and Bebe Barron,
Albert Ayler,
The Real Kids,
Thinking Fellers Union Local 282,
Bootsy's Rubber Band,
Soft Cell,
Flamin' Groovies,
MC5,
The Stooges,
Big Daddy Kane,
Swell Maps,
Eddi Front,
Bluetip,
Black Sheep,
The Trojans,
Loose Ends,
It's A Beautiful Day,
Sparks,
Jawbox,
Ludus,
Silicon Teens,
Groovy Waters,
Oppenheimer Analysis,
Lyres,
Faust,
Eli Mardock,
Bizarre Inc.,
Max Romeo,
The Music Machine,
The Fire Engines,
Oneida,
The Five Americans,
The Standells,
Television Personalities,
Matthew Bourne,
Jimmy McGriff,
Siouxsie and the Banshees,
Minor Threat,
Amazonics,
The Fortunes,
James White and The Blacks,
Funky Four + One,
Neil Young,
Porter Ricks,
Lungfish,
Roy Ayers Ubiquity,
Sister Nancy,
Model 500,
Quadrant,
Ornette Coleman,
The Detroit Cobras,
Pantytec,
The Mummies, The Mummies, The Mummies, The Mummies.
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.