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 Yemen and from Portland.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Bologna and Tokyo.
I'm losing my edge to the art-school Johannesburg 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer sounds with much patience.
I was there when Captain Beefheart 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 John Lydon to the grunge kids.
I played it at CBGB's.
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 Lightning Bolt. All the underground hits.
All Angels of Light & Akron/Family tracks. I heard you have a vinyl of every Mandrill record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a theremin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Icehouse record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q65,
the Sonics,
Grandmaster Flash,
Dorothy Ashby,
The Slits,
Camron Feat. Memphis Bleek And Beenie Seigel,
Banda Bassotti,
Davy DMX,
Barclay James Harvest,
Panda Bear,
Cybotron,
Pierre Henry,
The Dead C,
Crooked Eye,
Donald Byrd,
The Gun Club,
John Holt,
Joyce Sims,
Rhythm & Sound,
The Doors,
Be Bop Deluxe,
Eli Mardock,
Jerry Gold Smith,
The Fugs,
The Cowsills,
Adolescents,
The Victims,
the Normal,
Electric Prunes,
Stiv Bators,
the Fania All-Stars,
Alton Ellis,
Kas Product,
The Detroit Cobras,
JFA,
Main Source,
The Skatalites,
Make Up,
The Standells,
Wings,
Black Flag,
Nick Fraelich,
Carl Craig,
The Blues Magoos,
Brass Construction,
Ralphi Rosario,
Anakelly,
The Knickerbockers,
Theoretical Girls,
The Last Poets,
Kango’s Stein Massive,
Cluster,
Erasure,
Avey Tare,
Suburban Knight,
The Kinks,
The Mighty Diamonds,
Terry Callier,
Aloha Tigers,
Andrew Ashong & Theo Parrish,
Grandmaster Flash and the Furious Five,
Neu!, Neu!, Neu!, Neu!.
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.