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 Guinea and from Toronto.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Houston and Stockholm.
I'm losing my edge to the art-school Madrid 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the marimba sounds with much patience.
I was there when Nile Rodgers 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 Tim Buckley to the crunk kids.
I played it at the Hacienda.
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 Electric Light Orchestra. All the underground hits.
All Public Image Ltd. tracks. I heard you have a vinyl of every The Dirtbombs 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 '70s cut and another box set from the '70s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Television,
The Slits,
Soul II Soul,
Captain Beefheart & His Magic Band,
The Leaves,
Selector Dub Narcotic,
Archie Shepp,
Crispian St. Peters,
Talk Talk,
Darondo,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Dark Day,
The Happenings,
Gary Puckett & The Union Gap,
Nirvana,
Yellowson,
Neil Young,
Pere Ubu,
La Düsseldorf,
The Peanut Butter Conspiracy,
Joensuu 1685,
Amon Düül II,
Wire,
Bobbi Humphrey,
Rekid,
Bizarre Inc.,
The Vogues,
Be Bop Deluxe,
Faraquet,
The Smoke,
Chris Corsano,
Richard Hell and the Voidoids,
Camouflage,
Swell Maps,
Michelle Simonal,
The Cramps,
Man Eating Sloth,
cv313,
Oppenheimer Analysis,
the Fania All-Stars,
Jerry's Kids,
DJ Sneak,
Adolescents,
The Human League,
The Detroit Cobras,
Lou Reed & Metallica,
Marc Romboy vs. Booka Shade,
Junior Murvin,
Lindisfarne,
Grandmaster Flash and the Furious Five,
Boogie Down Productions,
Theoretical Girls,
Todd Rundgren,
Althea and Donna,
Flamin' Groovies,
Yazoo,
Bootsy's Rubber Band,
Ohio Players,
The Selecter,
Ash Ra Tempel,
The Shadows of Knight,
Anakelly,
Unrelated Segments,
The Busters, The Busters, The Busters, The Busters.
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.