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 Samoa and from Lyon.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Salvador and Lille.
I'm losing my edge to the art-school Philadelphia 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 2001 at the first Tiga practice in a loft in Montreal.
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 Brass Construction to the funk kids.
I played it at the Troubador.
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 Matthew Bourne. All the underground hits.
All Lou Reed & John Cale tracks. I heard you have a vinyl of every Eric Copeland record on German import.
I heard that you have a white label of every seminal rock 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 a clarinet and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Röyhkä ja Rättö ja Lehtisalo record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mars,
Jawbox,
R.M.O.,
The Dirtbombs,
Goldenarms,
The Flesh Eaters,
CMW,
Deutsch Amerikanische Freundschaft,
Moby Grape,
The Blues Magoos,
Susan Cadogan,
Popol Vuh,
Ituana,
Alphaville,
China Crisis,
the Normal,
It's A Beautiful Day,
Mr. Review,
These Immortal Souls,
Bootsy Collins,
Swans,
Sällskapet,
Intrusion,
Gong,
PIL,
Eddi Front,
Porter Ricks,
The Mummies,
The Modern Lovers,
The Standells,
Boogie Down Productions,
Vainqueur,
Roxy Music,
Interpol,
The Beau Brummels,
Echospace,
DeepChord presents Echospace,
Q65,
Josef K,
Urselle,
Bootsy's Rubber Band,
Fluxion,
Unrelated Segments,
Kerri Chandler,
Magazine,
Technova,
The Slackers,
Max Romeo,
Gang of Four,
Camberwell Now,
The Pop Group,
Young Marble Giants,
Siglo XX,
Rufus Thomas,
Bobby Byrd,
the Sonics,
Fort Wilson Riot,
Lalo Schifrin,
Agitation Free,
Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron, Louis and Bebe Barron.
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.