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 Mexico and from Woodstock.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Seoul.
I'm losing my edge to the art-school Spokane 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the chamberlin 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 Fluxion to the disco kids.
I played it at CBGB's.
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 Flamin' Groovies. All the underground hits.
All Jerry's Kids tracks. I heard you have a vinyl of every UT record on German import.
I heard that you have a white label of every seminal rap 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 chamberlin and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Swell Maps record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mo-Dettes,
Faust,
Deepchord,
Heavy D & The Boyz,
Josef K,
Kas Product,
Half Japanese,
Tommy Roe,
X-Ray Spex,
Röyhkä ja Rättö ja Lehtisalo,
Bizarre Inc.,
Curtis Mayfield,
Yaz,
Model 500,
Lucky Dragons,
The Chocolate Watch Band,
Gregory Isaacs,
Angry Samoans,
Wasted Youth,
Little Man,
Negative Approach,
The Monochrome Set,
Delta 5,
The American Breed,
Fifty Foot Hose,
Main Source,
Wally Richardson,
Unrelated Segments,
Bootsy's Rubber Band,
The Black Dice,
Patti Smith,
Public Enemy,
Ajijia Myrayebe,
Fat Boys,
Frankie Knuckles,
Country Joe & The Fish,
Inner City,
The Durutti Column,
EPMD,
Massinfluence,
Silicon Teens,
The Skatalites,
Chris Corsano,
The Happenings,
Gil Scott Heron,
Derrick Morgan,
L. Decosne,
Lightning Bolt,
Pagans,
Von Mondo,
Orchestral Manoeuvres in the Dark,
Pet Shop Boys,
The Grass Roots,
AZ,
June Days,
Scrapy,
Japan,
The Cowsills,
Bill Near,
Nirvana,
Pere Ubu,
The Music Machine, The Music Machine, The Music Machine, The Music Machine.
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.