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 Nauru and from Woodstock.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1976.
I'm losing my edge.
To all the kids in Winnipeg and Lagos.
I'm losing my edge to the art-school Milan 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the organ 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 Skaos to the crunk kids.
I played it at the Troubador.
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 Yaz. All the underground hits.
All Eli Mardock tracks. I heard you have a vinyl of every Dead Boys record on German import.
I heard that you have a white label of every seminal grime 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 theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Deepchord record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kings Of Tomorrow,
Dorothy Ashby,
Connie Case,
Funkadelic,
Henry Cow,
Radiopuhelimet,
Half Japanese,
Lou Reed & Metallica,
the Association,
The Standells,
The Index,
Rekid,
Gang Green,
Con Funk Shun,
Colin Newman,
Jimmy McGriff,
Vladislav Delay,
Minutemen,
These Immortal Souls,
Supertramp,
Ajijia Myrayebe,
Drexciya,
Brass Construction,
Cluster,
The Offenders,
Tom Boy,
The Birthday Party,
Easy Going,
Lafayette Afro Rock Band,
A Flock of Seagulls,
The West Coast Pop Art Experimental Band,
Minny Pops,
Marcia Griffiths,
China Crisis,
Lebanon Hanover,
Blancmange,
Sly & The Family Stone,
The Residents,
Scrapy,
Shuggie Otis,
Basic Channel,
The Motions,
Das Ding,
Lyres,
Accadde A,
Justin Hinds & The Dominoes,
Eyeless In Gaza,
Grauzone,
Rowland S Howard / Lydia Lunch,
Circle Jerks,
The Gladiators,
Tropical Tobacco,
Flipper,
Malaria!,
The Music Machine,
Sarah Menescal,
World's Most,
Excepter,
the Fania All-Stars,
Dave Gahan,
The Stooges,
The Saints,
Skarface, Skarface, Skarface, Skarface.
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.