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 East Timor and from Columbus.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Manchester and New York.
I'm losing my edge to the art-school Portland 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 1978 at the first Visage practice in a loft in London.
I was working on the marimba 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 Germs to the rap kids.
I played it at Cafe Wha.
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 Japan. All the underground hits.
All Amon Düül tracks. I heard you have a vinyl of every Sixth Finger record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Modern Lovers record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dark Day,
Hoover,
Arcadia,
Sunsets and Hearts,
Delon & Dalcan,
Kenny Larkin,
Justin Hinds & The Dominoes,
Donald Byrd,
World's Most,
Smog,
Underground Resistance,
Bobbi Humphrey,
Gang Starr,
Technova,
Rites of Spring,
Gastr Del Sol,
Sandy B,
The Chocolate Watch Band,
Mo-Dettes,
Talk Talk,
K-Klass,
The Misunderstood,
Tres Demented,
The Last Poets,
Pantaleimon,
Lindisfarne,
Lakeside,
Magma,
R.M.O.,
DNA,
The Shadows of Knight,
Circle Jerks,
Basic Channel,
Absolute Body Control,
Yaz,
Robert Wyatt,
Make Up,
Crispian St. Peters,
Charles Mingus,
Bang on a Can All-Stars,
Mr. Review,
Intrusion,
Spandau Ballet,
Jandek,
Brothers Johnson,
Blancmange,
The Standells,
Don Cherry,
Monolake,
Anakelly,
Jerry's Kids,
Whodini,
The Smoke,
Agitation Free,
Agent Orange,
Thinking Fellers Union Local 282,
Zero Boys,
Hasil Adkins,
Q and Not U,
The Monochrome Set,
Rakim,
Bronski Beat,
Chris Corsano,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.