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 Papua New Guinea 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 1975.
I'm losing my edge.
To all the kids in Toronto and Mexico City.
I'm losing my edge to the art-school New York 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 1968 at the first Can practice in a loft in Cologne.
I was working on the guitar 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 Fugazi to the techno 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 Matthew Halsall. All the underground hits.
All Interpol tracks. I heard you have a vinyl of every Zapp record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Big Daddy Kane 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?
Jawbox,
Interpol,
Minnie Riperton,
Eyeless In Gaza,
the Slits,
Boredoms,
Desert Stars,
Arab on Radar,
Jesper Dahlback,
Pussy Galore,
Bad Manners,
Colin Newman,
In Retrospect,
Surgeon,
Hot Snakes,
DJ Sneak,
Piero Umiliani,
Jeru the Damaja,
Icehouse,
Wally Richardson,
The Move,
Deakin,
Rowland S Howard / Lydia Lunch,
The Last Poets,
Derrick May,
Marcia Griffiths,
Davy DMX,
Fear,
Unrelated Segments,
H. Thieme,
Sarah Menescal,
Tomorrow,
Laurel Aitken,
Stetsasonic,
Royal Trux,
Cheater Slicks,
The Skatalites,
Rekid,
MDC,
La Düsseldorf,
Rhythim Is Rhythim,
Big Daddy Kane,
Isaac Hayes,
Morten Harket,
Model 500,
Barbara Tucker,
Nirvana,
Lonnie Liston Smith,
Maleditus Sound,
Lou Reed & John Cale,
Sex Pistols,
Shuggie Otis,
Flamin' Groovies,
Absolute Body Control,
Pulsallama,
The Doors,
Electric Prunes,
The Walker Brothers,
Nation of Ulysses,
Bang on a Can All-Stars,
Eve St. Jones,
Average White Band, Average White Band, Average White Band, Average White Band.
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.