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 Colombia and from Seoul.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Johannesburg and Shanghai.
I'm losing my edge to the art-school Toronto 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 spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Can to the dance 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 The Count Five. All the underground hits.
All Skriet tracks. I heard you have a vinyl of every Lizzy Mercier Descloux record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Dirtbombs record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Dead Boys,
The Monks,
Panda Bear,
Marc Almond,
Hashim,
Quando Quango,
The Pop Group,
Banda Bassotti,
Teenage Jesus and the Jerks,
Radio Birdman,
Inner City,
The Young Rascals,
Deakin,
L. Decosne,
Eric Copeland,
Kool G Rap & DJ Polo,
the Swans,
Cecil Taylor,
Mary Jane Girls,
Warsaw,
Oblivians,
Maleditus Sound,
CMW,
Public Enemy,
Angry Samoans,
Infiniti,
Fluxion,
Faraquet,
The Fire Engines,
Prince Buster,
Roxy Music,
Gil Scott Heron,
Mantronix,
Crash Course in Science,
Marine Girls,
Camberwell Now,
The Durutti Column,
This Heat,
Visionaries,LMNO, T- Love & Iriscience,
Agent Orange,
Aloha Tigers,
June of 44,
Mars,
The Red Krayola,
The Zeros,
Delta 5,
Wighnomy Brothers & Robag Wruhme,
Liaisons Dangereuses,
Sun Ra Arkestra,
The Human League,
Nick Fraelich,
Strawberry Alarm Clock,
Selector Dub Narcotic,
Bad Manners,
Brass Construction,
Ajijia Myrayebe,
Spandau Ballet,
The Dirtbombs,
One Last Wish,
Country Joe & The Fish,
Pierre Henry,
The Velvet Underground,
Sixth Finger,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.