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 Micronesia and from Accra.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1976.
I'm losing my edge.
To all the kids in Cairo and Hong Kong.
I'm losing my edge to the art-school Columbus 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 Feelies practice in a loft in Haledon.
I was working on the güiro 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 Justin Hinds & The Dominoes to the electroclash kids.
I played it at the Hacienda.
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 Goldenarms. All the underground hits.
All Make Up tracks. I heard you have a vinyl of every Girls At Our Best! 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 '70s.
I hear you're buying a snare and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sarah Menescal,
Sun Ra,
Ultra Naté,
Liaisons Dangereuses,
UT,
John Coltrane,
Bang On A Can,
R.M.O.,
Eyeless In Gaza,
Rhythm & Sound,
June Days,
Joe Smooth,
Sight & Sound,
Absolute Body Control,
Public Image Ltd.,
Gian Franco Pienzio,
KRS-One,
Moby Grape,
Marmalade,
Ultimate Spinach,
Nirvana,
The Busters,
Beasts of Bourbon,
The Neon Judgement,
Sandy B,
Jeff Mills,
China Crisis,
Josef K,
MDC,
Von Mondo,
Radiopuhelimet,
Smog,
Wings,
Heavy D & The Boyz,
Kings Of Tomorrow,
Index,
Faust,
Janne Schatter,
New Age Steppers,
Goldenarms,
Gang Gang Dance,
The Modern Lovers,
Thee Headcoats,
Bob Dylan,
Steve Hackett,
Khruangbin,
Brand Nubian,
Danielle Patucci,
L. Decosne,
The Doobie Brothers,
The Mojo Men,
Harpers Bizarre,
Todd Terry,
Arab on Radar,
8 Eyed Spy,
The Jesus and Mary Chain,
Joey Negro,
The Index,
the Sonics,
Marcia Griffiths,
Marshall Jefferson, Marshall Jefferson, Marshall Jefferson, Marshall Jefferson.
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.