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 Togo and from Manchester.
But I was there.
I was there in 1976.
I was there at the first Chic show in New York.
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 1964 to 1979.
I'm losing my edge.
To all the kids in Spokane and Mexico City.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 New York Dolls to the funk 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 John Holt. All the underground hits.
All The Beau Brummels tracks. I heard you have a vinyl of every Pantytec record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your spring reverb and bought a 808.
I hear that you and your band have sold your 808 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?
John Lydon,
Brick,
Magazine,
Underground Resistance,
New Age Steppers,
Fort Wilson Riot,
Stiv Bators,
Donny Hathaway,
Liaisons Dangereuses,
Kenny Larkin,
Bizarre Inc.,
Barry Ungar,
Tom Boy,
Shuggie Otis,
Bobby Hutcherson,
Skarface,
June Days,
Delon & Dalcan,
The Fire Engines,
R.M.O.,
Harpers Bizarre,
Groovy Waters,
Zero Boys,
T. Rex,
Junior Murvin,
F. McDonald,
Albert Ayler,
Aloha Tigers,
The Move,
Kevin Saunderson,
The Durutti Column,
Gang Starr,
Gil Scott-Heron and Jamie xx,
Index,
Larry & the Blue Notes,
Funky Four + One,
Unrelated Segments,
Dead Boys,
The Remains,
Judy Mowatt,
Soft Cell,
Sexual Harrassment,
Ohio Players,
Main Source,
Amazonics,
Can,
De La Soul & Jungle Brothers,
Fear,
Andrew Hill,
Teenage Jesus and the Jerks,
The Leaves,
Hashim,
Average White Band,
Mad Mike,
Loose Ends,
Byron Stingily,
Hardrive,
Crime,
Girls At Our Best!,
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.