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 Iran and from Toronto.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1978.
I'm losing my edge.
To all the kids in Philadelphia and Salvador.
I'm losing my edge to the art-school Salvador 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the synthesizer 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 Guru Guru to the electroclash kids.
I played it at Trash.
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 Barclay James Harvest. All the underground hits.
All The Slits tracks. I heard you have a vinyl of every Icehouse record on German import.
I heard that you have a white label of every seminal funk 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 spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Lonnie Liston Smith record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
DJ Style,
The Pretty Things,
Moss Icon,
The Tremeloes,
Peter & Gordon,
Godley & Creme,
Lyres,
Roy Ayers,
Kango’s Stein Massive,
The Selecter,
Beasts of Bourbon,
Mo-Dettes,
June of 44,
Blossom Toes,
Traffic Nightmare,
Dead Boys,
Quando Quango,
The Star Department,
Eric Dolphy,
The Litter,
Moby Grape,
Interpol,
Danielle Patucci,
Radiopuhelimet,
Black Pus,
John Lydon,
The Fire Engines,
The Martian,
Gary Puckett & The Union Gap,
Scientists,
Fela Kuti,
Kings Of Tomorrow,
Yusef Lateef,
Fifty Foot Hose,
Jeff Lynne,
Sarah Menescal,
Tres Demented,
Strawberry Alarm Clock,
Warsaw,
Ultra Naté,
X-102,
Lizzy Mercier Descloux,
Jesper Dahlback,
Pussy Galore,
kango's stein massive,
Babytalk,
Chris & Cosey,
U.S. Maple,
Bauhaus,
Tropical Tobacco,
Archie Shepp,
Rod Modell,
UT,
Electric Light Orchestra,
Angry Samoans,
Pole,
the Germs,
Con Funk Shun,
Half Japanese,
The Birthday Party,
Derrick May,
Fort Wilson Riot,
Motorama,
Metal Thangz, Metal Thangz, Metal Thangz, Metal Thangz.
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.