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 Micronesia and from Mexico City.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Philadelphia and Madrid.
I'm losing my edge to the art-school Salvador 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 at the first Suicide practice in a loft in New York.
I was working on the synthesizer sounds with much patience.
I was there when Robert Palmer 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 Cramps to the rock 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 Niagra. All the underground hits.
All Maurizio tracks. I heard you have a vinyl of every Newcleus record on German import.
I heard that you have a white label of every seminal punk 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 a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & Metallica record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tears for Fears,
The Victims,
LL Cool J,
The Residents,
Todd Terry,
Jimmy McGriff,
Can,
Dead Boys,
The Slackers,
David Axelrod,
Kenny Larkin,
The Selecter,
Eve St. Jones,
Cybotron,
Soul Sonic Force,
The Mighty Diamonds,
Drive Like Jehu,
the Slits,
La Düsseldorf,
Derrick Morgan,
The West Coast Pop Art Experimental Band,
The Offenders,
Pere Ubu,
Echospace,
FM Einheit,
Matthew Halsall,
Arab on Radar,
Pharaoh Sanders and the Fire Engines,
Funky Four + One,
The Saints,
Underground Resistance,
Bootsy Collins,
Sexual Harrassment,
Al Stewart,
Lebanon Hanover,
Anthony Braxton,
June Days,
Brick,
kango's stein massive,
The Smoke,
Alice Coltrane,
Nirvana,
Curtis Mayfield,
Judy Mowatt,
cv313,
Wally Richardson,
The Young Rascals,
K-Klass,
Godley & Creme,
Peter & Gordon,
Duran Duran,
Goldenarms,
Gichy Dan,
The Zeros,
Stetsasonic,
Niagra,
Youth Brigade,
Nick Fraelich,
Warsaw,
Radiohead,
Pole, Pole, Pole, Pole.
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.