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 Suriname and from Manila.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Houston and Mexico City.
I'm losing my edge to the art-school Bologna 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the guitar sounds with much patience.
I was there when Michael McDonald 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 The Star Department to the funk 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 London Community Gospel Choir. All the underground hits.
All The Human League tracks. I heard you have a vinyl of every Johnny Clarke record on German import.
I heard that you have a white label of every seminal jazz 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 snare and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Black Flag record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alton Ellis,
Yellowson,
Jerry Gold Smith,
Royal Trux,
Sexual Harrassment,
Pharoah Sanders,
DJ Style,
Scratch Acid,
Dorothy Ashby,
Joe Smooth,
Electric Prunes,
Goldenarms,
Pole,
Public Enemy,
Reuben Wilson,
The United States of America,
The Cure,
Ronnie Foster,
Make Up,
Newcleus,
Marshall Jefferson,
Albert Ayler,
MC5,
The Chocolate Watch Band,
Lou Christie,
The Grass Roots,
The Sonics,
Outsiders,
Black Moon,
De La Soul & Jungle Brothers,
Agent Orange,
the Fania All-Stars,
Jacques Brel,
Blake Baxter,
Charles Mingus,
Hoover,
Todd Rundgren,
Motorama,
Anakelly,
Bauhaus,
The Angels of Light,
The Selecter,
The Happenings,
Ken Boothe,
Swell Maps,
Bill Near,
Kayak,
The Electric Prunes,
Donny Hathaway,
In Retrospect,
Bronski Beat,
The Wake,
Robert Hood,
Red Lorry Yellow Lorry,
K-Klass,
Deepchord,
Donald Byrd,
the Soft Cell,
Negative Approach, Negative Approach, Negative Approach, Negative Approach.
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.