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 Syria and from Bremen.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Shanghai and Milan.
I'm losing my edge to the art-school Philadelphia 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 snare sounds with much patience.
I was there when Holger Czukay 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 Oppenheimer Analysis to the crunk kids.
I played it at the Crocodile.
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 Mr. Review. All the underground hits.
All Ultravox tracks. I heard you have a vinyl of every Bluetip record on German import.
I heard that you have a white label of every seminal funk 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 harpsichord and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Young Marble Giants record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Birthday Party,
The Leaves,
Fugazi,
Sad Lovers and Giants,
Avey Tare & Kría Brekkan,
Agitation Free,
Bobby Womack,
Quadrant,
Siouxsie and the Banshees,
Bang on a Can All-Stars,
Livin' Joy,
The Cosmic Jokers,
The Music Machine,
the Bar-Kays,
The Residents,
Groovy Waters,
The Offenders,
Roger Hodgson,
Janne Schatter,
Mars,
Jawbox,
The Alarm Clocks,
Banda Bassotti,
a-ha,
Lindisfarne,
Spandau Ballet,
Smog,
Toni Rubio,
Aural Exciters,
Trumans Water,
the Sonics,
Maleditus Sound,
Bronski Beat,
Tropical Tobacco,
Electric Light Orchestra,
Moebius,
This Heat,
Skriet,
Qualms,
Marc Almond,
The Moody Blues,
Suburban Knight,
Negative Approach,
Soul Sonic Force,
Lalann,
Nico,
Nation of Ulysses,
Aloha Tigers,
Parry Music,
Angry Samoans,
Boredoms,
The Slackers,
Scion,
MDC,
Brothers Johnson,
Bobby Sherman,
New York Dolls,
Wighnomy Brothers & Robag Wruhme,
Nils Olav,
Franke,
DJ Style,
The Golliwogs, The Golliwogs, The Golliwogs, The Golliwogs.
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.