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 Venezuela and from Seoul.
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 1970.
I'm losing my edge.
To all the kids in Manila and London.
I'm losing my edge to the art-school Lagos 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 Minutemen to the disco 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 Mad Mike. All the underground hits.
All Mad Mike tracks. I heard you have a vinyl of every The West Coast Pop Art Experimental Band 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 '80s cut and another box set from the '70s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Andrew Hill record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
Das Ding,
The Modern Lovers,
The American Breed,
The Shadows of Knight,
Scion,
The Gories,
Todd Rundgren,
Negative Approach,
Wally Richardson,
Chris Corsano,
Al Stewart,
The Chocolate Watch Band,
MDC,
Guru Guru,
Sonic Youth,
Magazine,
The Pop Group,
Bootsy's Rubber Band,
Mary Jane Girls,
Captain Beefheart & His Magic Band,
Bobby Womack,
Wighnomy Brothers & Robag Wruhme,
The Detroit Cobras,
David McCallum,
Sex Pistols,
Suburban Knight,
The Tremeloes,
The Motions,
Gong,
Robert Wyatt,
LL Cool J,
Black Flag,
Agent Orange,
Mo-Dettes,
Model 500,
Thee Headcoats,
Pussy Galore,
Skriet,
Los Fastidios,
T. Rex,
Glenn Branca,
Tim Buckley,
Roger Hodgson,
The Alarm Clocks,
Fear,
Bobby Hutcherson,
Jeff Mills,
Surgeon,
Rod Modell,
Zero Boys,
8 Eyed Spy,
The Mojo Men,
Public Image Ltd.,
Carl Craig,
John Lydon,
Teenage Jesus and the Jerks,
The West Coast Pop Art Experimental Band,
Ralphi Rosario,
The Men They Couldn't Hang,
Gerry Rafferty,
Fatback Band,
The Slackers,
Sällskapet, Sällskapet, Sällskapet, Sällskapet.
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.