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 Kosovo and from Seoul.
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 1963 to 1974.
I'm losing my edge.
To all the kids in Woodstock and Tehran.
I'm losing my edge to the art-school Manchester 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the oboe sounds with much patience.
I was there when Holger Czukay 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 Dual Sessions to the crunk kids.
I played it at the Troubador.
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 Ralphi Rosario. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every Circle Jerks 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 '70s cut and another box set from the '90s.
I hear you're buying a marimba and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Slits record.
I hear that you and your band have sold your marimba and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
The Monochrome Set,
Stereo Dub,
Gabor Szabo,
Marmalade,
Graham Central Station,
Lou Christie,
Jawbox,
Barbara Tucker,
Röyhkä ja Rättö ja Lehtisalo,
Pete Rock & C.L. Smooth,
Oppenheimer Analysis,
Half Japanese,
Andrew Ashong & Theo Parrish,
the Germs,
Magazine,
In Retrospect,
Model 500,
The Beau Brummels,
Maurizio,
Ornette Coleman,
Rahsaan Roland Kirk,
The Moleskins,
Rapeman,
Section 25,
Radio Birdman,
The Black Dice,
Erasure,
Boredoms,
Sällskapet,
Black Moon,
The Residents,
DeepChord presents Echospace,
48th St. Collective,
Subhumans,
Minny Pops,
Vladislav Delay,
Deutsch Amerikanische Freundschaft,
Sunsets and Hearts,
Robert Wyatt,
The Smiths,
Soft Cell,
FM Einheit,
These Immortal Souls,
Traffic Nightmare,
Loose Ends,
The Barracudas,
The Gories,
Cameo,
The Busters,
Adolescents,
Bootsy's Rubber Band,
Marshall Jefferson,
Schoolly D,
10cc,
Public Enemy,
Swell Maps,
the Fania All-Stars,
The Techniques,
U.S. Maple,
Peter & Gordon,
Eric Dolphy,
Albert Ayler, Albert Ayler, Albert Ayler, Albert Ayler.
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.