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 Brunei and from Milan.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1972.
I'm losing my edge.
To all the kids in Milan and Madrid.
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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the clarinet sounds with much patience.
I was there when Tom Verlaine 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 Minor Threat to the jazz 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 Can. All the underground hits.
All Boredoms tracks. I heard you have a vinyl of every Y Pants record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fort Wilson Riot,
Tom Boy,
Country Joe & The Fish,
Dave Gahan,
Bill Near,
Deutsch Amerikanische Freundschaft,
Pharaoh Sanders and the Fire Engines,
Justin Hinds & The Dominoes,
Minutemen,
Jawbox,
Wasted Youth,
Vladislav Delay,
Yaz,
Fatback Band,
The Gladiators,
The Sonics,
Kool Moe Dee,
Massinfluence,
8 Eyed Spy,
Judy Mowatt,
Subhumans,
Notorious Big And Bone Thugs,
Grandmaster Flash and the Furious Five,
Reagan Youth,
Andrew Ashong & Theo Parrish,
The Chocolate Watch Band,
The Offenders,
Donny Hathaway,
Scan 7,
Alice Coltrane,
The Slits,
Popol Vuh,
Kas Product,
Wolf Eyes,
Silicon Teens,
Cameo,
Gabor Szabo,
The Sound,
Zero Boys,
Al Stewart,
Circle Jerks,
Max Romeo,
Carl Craig,
Robert Görl,
Sister Nancy,
Sun Ra Arkestra,
Yellowson,
Crime,
Roxette,
Angry Samoans,
Soft Cell,
Red Lorry Yellow Lorry,
Oppenheimer Analysis,
Rhythm & Sound,
Saccharine Trust,
Ronnie Foster,
Derrick May,
Erykah Badu,
Eli Mardock,
U.S. Maple,
Rotary Connection,
Michelle Simonal, Michelle Simonal, Michelle Simonal, Michelle Simonal.
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.