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 Cape Verde and from Tokyo.
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 1969 to 1974.
I'm losing my edge.
To all the kids in London and Manila.
I'm losing my edge to the art-school Bologna 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 guitar 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 Ituana to the crunk kids.
I played it at the Crocodile.
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 Junior Murvin. All the underground hits.
All Harry Pussy tracks. I heard you have a vinyl of every Siouxsie and the Banshees record on German import.
I heard that you have a white label of every seminal grime 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 linndrum and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
X-101,
Derrick May,
Mary Jane Girls,
Scan 7,
Hoover,
The Saints,
Camouflage,
Rosa Yemen,
Severed Heads,
EPMD,
Masters at Work,
The New Christs,
Dawn Penn,
Toni Rubio,
Joensuu 1685,
Lalann,
Jandek,
The Young Rascals,
Roy Ayers Ubiquity,
La Düsseldorf,
Sam Rivers,
Depeche Mode,
Bush Tetras,
Subhumans,
The Durutti Column,
Royal Trux,
Mark Hollis,
The Cosmic Jokers,
Delta 5,
Ash Ra Tempel,
Ken Boothe,
Minor Threat,
Mr. Review,
The Dave Clark Five,
The Birthday Party,
The Slackers,
Bootsy Collins,
Alison Limerick,
Bobby Byrd,
Monks,
The Leaves,
Cecil Taylor,
Arab on Radar,
Dead Boys,
Liliput,
Bizarre Inc.,
Peter and Kerry,
Wire,
Nik Kershaw,
Amon Düül,
Pharoah Sanders,
Gerry Rafferty,
Infiniti,
Max Romeo,
The Index,
Shoche,
Vainqueur,
Lyres,
the Swans,
Neil Young & Crazy Horse,
Pere Ubu,
Animal Collective,
Iggy Pop,
Johnny Clarke,
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.