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 Tunisia and from Winnipeg.
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 1969 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Tokyo.
I'm losing my edge to the art-school Woodstock 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 güiro sounds with much patience.
I was there when David Bowie 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 Dirtbombs to the jazz kids.
I played it at the Roxy.
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 Selector Dub Narcotic. All the underground hits.
All Gil Scott-Heron & Brian Jackson tracks. I heard you have a vinyl of every X-101 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 '70s cut and another box set from the '70s.
I hear you're buying a linndrum and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Chrome record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick Morgan,
Aswad,
The Jesus and Mary Chain,
Pussy Galore,
The Knickerbockers,
Tubeway Army,
Avey Tare & Kría Brekkan,
The Gun Club,
The Searchers,
Half Japanese,
It's A Beautiful Day,
Amon Düül II,
Harpers Bizarre,
Ituana,
Rufus Thomas,
Chris & Cosey,
Minor Threat,
Girls At Our Best!,
Fluxion,
John Coltrane,
The Royal Family And The Poor,
Average White Band,
Rakim,
Infiniti,
Masters at Work,
Joey Negro,
Röyhkä ja Rättö ja Lehtisalo,
Popol Vuh,
Eric Dolphy,
The Litter,
Toni Rubio,
Juan Atkins,
Ice-T,
the Swans,
Soft Cell,
Bush Tetras,
Blossom Toes,
Joensuu 1685,
Skarface,
Vladislav Delay,
Marc Romboy vs. Booka Shade,
Jesper Dahlback,
Vainqueur,
Theoretical Girls,
Jesper Dahlbäck,
Blancmange,
Angry Samoans,
Throbbing Gristle,
Nation of Ulysses,
Saccharine Trust,
Black Flag,
Kayak,
Reuben Wilson,
The Black Dice,
Bronski Beat,
The Zeros,
La Düsseldorf,
Marcia Griffiths,
Eric Copeland,
Boogie Down Productions,
James Chance & The Contortions,
Flash Fearless, Flash Fearless, Flash Fearless, Flash Fearless.
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.