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 Syria and from Paris.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1973.
I'm losing my edge.
To all the kids in Woodstock and Mexico City.
I'm losing my edge to the art-school Tokyo 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the clarinet sounds with much patience.
I was there when Michael McDonald 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 The Fugs to the electroclash kids.
I played it at the Spitz.
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 Jesper Dahlbäck. All the underground hits.
All Crime tracks. I heard you have a vinyl of every Grauzone 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 chamberlin and a spring reverb 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 synthesizer and bought a guitar.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Knickerbockers,
Circle Jerks,
David McCallum,
Dr. Dre and Snoop Doggy Dog,
Darondo,
The Fortunes,
Siouxsie and the Banshees,
The Slits,
Cameo,
Magazine,
The Birthday Party,
Ronan,
Angry Samoans,
The Electric Prunes,
KRS-One,
The Cure,
Ten City,
FM Einheit,
Joey Negro,
Main Source,
Gil Scott-Heron and Jamie xx,
Malaria!,
Danielle Patucci,
Neil Young & Crazy Horse,
Arcadia,
AZ,
Sex Pistols,
Faust,
Nirvana,
Motorama,
The Searchers,
The Durutti Column,
Mandrill,
Heaven 17,
the Sonics,
Spandau Ballet,
Todd Rundgren,
Jacob Miller,
Amon Düül,
Dawn Penn,
The American Breed,
Jeru the Damaja,
New York Dolls,
Chrome,
Lou Reed & John Cale,
Kas Product,
Laurel Aitken,
Connie Case,
Todd Terry,
The Gun Club,
Sonny Sharrock,
Eyeless In Gaza,
Fatback Band,
June Days,
The Beau Brummels,
Yazoo,
Anthony Braxton,
Brothers Johnson,
Avey Tare & Kría Brekkan,
Orchestral Manoeuvres in the Dark,
Archie Shepp,
Mad Mike,
Sound Behaviour,
Mary Jane Girls, Mary Jane Girls, Mary Jane Girls, Mary Jane Girls.
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.