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 Afghanistan and from Delhi.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Accra and Houston.
I'm losing my edge to the art-school Lagos 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 Ossler to the crunk 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 Radiopuhelimet. All the underground hits.
All Angry Samoans tracks. I heard you have a vinyl of every Eurythmics record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a rhodes and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a MDC record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Main Source,
Harry Pussy,
Procol Harum,
Girls At Our Best!,
Japan,
Spandau Ballet,
The Star Department,
Interpol,
In Retrospect,
Cheater Slicks,
John Lydon,
Chris & Cosey,
The Grass Roots,
Jandek,
Althea and Donna,
Adolescents,
The Slits,
Bobby Sherman,
Kool Moe Dee,
Cabaret Voltaire,
Slick Rick,
Harpers Bizarre,
The Standells,
Vainqueur,
Scion,
John Cale,
Terror Squad Feat. Camron,
The Mojo Men,
Bill Wells,
Tears for Fears,
Quadrant,
Isaac Hayes,
Bob Dylan,
Wolf Eyes,
Aloha Tigers,
Lebanon Hanover,
Eddi Front,
Teenage Jesus and the Jerks,
the Soft Cell,
Inner City,
Drive Like Jehu,
Motorama,
Young Marble Giants,
Amon Düül,
Nick Cave & The Bad Seeds,
Iggy Pop,
Steve Hackett,
Richard Hell and the Voidoids,
Gang Starr,
June Days,
Television,
Piero Umiliani,
Josef K,
Television Personalities,
E-Dancer,
Joe Smooth,
Agent Orange,
Jawbox,
Idris Muhammad,
Freddie Wadling,
Echo & the Bunnymen,
Crash Course in Science,
The Toasters, The Toasters, The Toasters, The Toasters.
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.