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 Mozambique and from Manila.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 Glasgow and Houston.
I'm losing my edge to the art-school Halifax 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the snare 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 Eric Copeland to the techno kids.
I played it at the Astoria.
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 Maleditus Sound. All the underground hits.
All Los Fastidios tracks. I heard you have a vinyl of every Hashim 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 '80s cut and another box set from the '70s.
I hear you're buying a marimba and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a De La Soul & Jungle Brothers record.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Deutsch Amerikanische Freundschaft,
Amon Düül II,
Tres Demented,
Dual Sessions,
The Alarm Clocks,
Patti Smith,
Smog,
KRS-One,
London Community Gospel Choir,
John Coltrane,
The Velvet Underground,
Cybotron,
Bobby Byrd,
Pole,
Ultravox,
Pierre Henry,
Boredoms,
Television Personalities,
A Certain Ratio,
Mr. Review,
Eric Copeland,
Ponytail,
Gichy Dan,
The Saints,
the Association,
Robert Hood,
The Gun Club,
Shoche,
The Peanut Butter Conspiracy,
Zapp,
X-102,
Kango’s Stein Massive,
Delon & Dalcan,
The Monks,
Lou Reed & Metallica,
Desert Stars,
Marcia Griffiths,
Glambeats Corp.,
Oppenheimer Analysis,
Electric Prunes,
Ajijia Myrayebe,
Ituana,
Marmalade,
Guru Guru,
The Zeros,
Major Organ And The Adding Machine,
Siouxsie and the Banshees,
Babytalk,
Red Lorry Yellow Lorry,
Sam Rivers,
Buzzcocks,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Eddi Front,
The Flesh Eaters,
Cameo,
Vaughan Mason & Crew,
Popol Vuh,
The Shadows of Knight,
David Bowie,
New Age Steppers,
Warsaw, Warsaw, Warsaw, Warsaw.
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.