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 Burundi and from New York.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Stockholm and Milan.
I'm losing my edge to the art-school Sao Paulo 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the linndrum 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 Gil Scott-Heron and Jamie xx to the punk 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 The Barracudas. All the underground hits.
All The Fall tracks. I heard you have a vinyl of every Crash Course in Science record on German import.
I heard that you have a white label of every seminal punk 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 an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a R.M.O. record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin 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 Techniques,
Juan Atkins,
Public Enemy,
Camouflage,
Soulsonic Force,
The Fortunes,
Jimmy McGriff,
The Music Machine,
Oneida,
Max Romeo,
Girls At Our Best!,
Young Marble Giants,
The Slits,
Stockholm Monsters,
MC5,
Althea and Donna,
Ohio Players,
Maurizio,
Chrome,
The Cure,
Albert Ayler,
Terrestrial Tones,
Flamin' Groovies,
The Sound,
Ludus,
The Neon Judgement,
Grauzone,
Lafayette Afro Rock Band,
FM Einheit,
New York Dolls,
Sun City Girls,
Black Sheep,
Motorama,
The Sisters of Mercy,
The Searchers,
Kenny Larkin,
Banda Bassotti,
Gichy Dan,
DJ Style,
Dark Day,
De La Soul & Jungle Brothers,
June Days,
Jandek,
Neil Young,
The Pretty Things,
Tim Buckley,
The Cowsills,
Lee Hazlewood,
Drive Like Jehu,
Sound Behaviour,
Camberwell Now,
Guru Guru,
Super Lover Cee & Casanova Rud,
X-Ray Spex,
X-101,
Robert Wyatt,
Second Layer,
Ten City,
Sixth Finger,
Wire,
Cameo,
Roy Ayers Ubiquity,
Andrew Ashong & Theo Parrish,
Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale, Lou Reed & John Cale.
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.