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 Oman and from Copenhagen.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Philadelphia.
I'm losing my edge to the art-school Taipei 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 marimba 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 Lower 48 to the grime kids.
I played it at the 40 Watt.
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 Offenders. All the underground hits.
All Quantec tracks. I heard you have a vinyl of every The Busters 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 '70s cut and another box set from the '80s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Rowland S Howard / Lydia Lunch record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Neon Judgement,
Easy Going,
Pulsallama,
The Grass Roots,
Connie Case,
Marcia Griffiths,
Babytalk,
Scan 7,
The Move,
Crooked Eye,
Ponytail,
China Crisis,
Jimmy McGriff,
Accadde A,
Judy Mowatt,
Glambeats Corp.,
The Music Machine,
Sly & The Family Stone,
The Buckinghams,
Maurizio,
Joe Finger,
The American Breed,
Aural Exciters,
Ten City,
Jacques Brel,
the Slits,
Graham Central Station,
T.S.O.L.,
Sun City Girls,
Arthur Verocai,
Kurtis Blow,
Can,
The Skatalites,
Andrew Ashong & Theo Parrish,
Steve Hackett,
Symarip,
Peter & Gordon,
John Holt,
The Offenders,
Soft Machine,
Alphaville,
Drive Like Jehu,
Gastr Del Sol,
Prince Buster,
Anthony Braxton,
John Lydon,
Boz Scaggs,
Echospace,
The Real Kids,
Sandy B,
Eric B and Rakim,
Toni Rubio,
Yusef Lateef,
Interpol,
The Modern Lovers,
Thee Headcoats,
The Velvet Underground,
The Index,
Rapeman,
Marine Girls,
Teenage Jesus and the Jerks,
Pantytec,
Oblivians, Oblivians, Oblivians, Oblivians.
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.