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 Monaco and from Glasgow.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Spokane and Portland.
I'm losing my edge to the art-school Lyon 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the snare sounds with much patience.
I was there when Donald Fagen 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 Jesper Dahlbäck to the rock 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 L. Decosne. All the underground hits.
All Bang On A Can tracks. I heard you have a vinyl of every Yellowson record on German import.
I heard that you have a white label of every seminal electroclash 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 mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Rufus Thomas record.
I hear that you and your band have sold your theremin and bought a 808.
I hear that you and your band have sold your 808 and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lonnie Liston Smith,
Electric Prunes,
Negative Approach,
The Flesh Eaters,
Sugar Minott,
Jawbox,
Hardrive,
David Axelrod,
Rhythim Is Rhythim,
Sly & The Family Stone,
The Techniques,
Delon & Dalcan,
Cameo,
The Gun Club,
Aswad,
Kas Product,
New Age Steppers,
The West Coast Pop Art Experimental Band,
Larry & the Blue Notes,
Unrelated Segments,
Underground Resistance,
Notorious Big And Bone Thugs,
Stetsasonic,
Fad Gadget,
In Retrospect,
Sonic Youth,
Aloha Tigers,
Can,
Tomorrow,
Adolescents,
The Remains,
Ponytail,
The Searchers,
The Music Machine,
Essential Logic,
Lungfish,
The Index,
Kool Moe Dee,
The Slits,
Lightning Bolt,
Agent Orange,
Swans,
Faust,
Audionom,
The Men They Couldn't Hang,
John Lydon,
Marc Almond,
Roxette,
Los Fastidios,
Harry Pussy,
The Sound,
Albert Ayler,
Peter Gordon & Love of Life Orchestra,
Pagans,
Wolf Eyes,
Soft Machine,
Mad Mike,
Kool G Rap & DJ Polo,
Rakim,
The Neon Judgement, The Neon Judgement, The Neon Judgement, The Neon Judgement.
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.