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 Honduras and from Accra.
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 1974.
I'm losing my edge.
To all the kids in Bremen and Stockholm.
I'm losing my edge to the art-school Houston 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 at the first Suicide practice in a loft in New York.
I was working on the snare sounds with much patience.
I was there when Michael McDonald 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 Faust to the disco kids.
I played it at the 40 Watt.
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 The West Coast Pop Art Experimental Band. All the underground hits.
All Brick tracks. I heard you have a vinyl of every The Knickerbockers 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 '60s cut and another box set from the '90s.
I hear you're buying a theremin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Ornette Coleman record.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eli Mardock,
Ohio Players,
48th St. Collective,
Altered Images,
Ice-T,
Can,
Idris Muhammad,
Aswad,
Minor Threat,
Electric Light Orchestra,
Josef K,
Average White Band,
Kevin Saunderson,
Robert Görl,
Fatback Band,
Marshall Jefferson,
Sparks,
Jimmy McGriff,
Tommy Roe,
Cheater Slicks,
Hashim,
Skarface,
The Alarm Clocks,
Bad Manners,
Lee Hazlewood,
Unrelated Segments,
The New Christs,
The Saints,
The Beau Brummels,
Röyhkä ja Rättö ja Lehtisalo,
the Association,
Lou Reed & John Cale,
This Heat,
Joensuu 1685,
James Chance & The Contortions,
Nirvana,
Sun City Girls,
The Music Machine,
Barry Ungar,
Royal Trux,
Pete Rock & C.L. Smooth,
The Last Poets,
Gil Scott-Heron & Brian Jackson,
Mantronix,
Black Pus,
Erykah Badu,
KRS-One,
DJ Sneak,
Zero Boys,
Lalo Schifrin,
Jacob Miller,
Albert Ayler,
The Move,
Alison Limerick,
Sonic Youth,
Matthew Halsall,
John Holt,
Avey Tare's Slasher Flicks,
Amazonics,
Traffic Nightmare,
Davy DMX,
MDC, MDC, MDC, MDC.
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.