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 Barbados and from Copenhagen.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1979.
I'm losing my edge.
To all the kids in Toronto and Lyon.
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 Buzzcocks practice in a loft in Bolton.
I was working on the güiro 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 Mandrill to the punk kids.
I played it at the Astoria.
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 Country Teasers. All the underground hits.
All Kool Moe Dee tracks. I heard you have a vinyl of every Panda Bear record on German import.
I heard that you have a white label of every seminal disco 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 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb 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 Shadows of Knight,
Trumans Water,
Brothers Johnson,
Altered Images,
The Gladiators,
Amon Düül,
Heavy D & The Boyz,
Porter Ricks,
Faust,
Isaac Hayes,
The Happenings,
Pet Shop Boys,
Sad Lovers and Giants,
Faraquet,
The Gun Club,
Monks,
The J.B.'s,
The Cramps,
Mo-Dettes,
Surgeon,
Soft Machine,
The Litter,
New Age Steppers,
Joey Negro,
Morten Harket,
Quando Quango,
Nick Fraelich,
Clear Light,
U.S. Maple,
Public Image Ltd.,
Bobby Sherman,
Rites of Spring,
Siglo XX,
EPMD,
Darondo,
Man Parrish,
Lightning Bolt,
Jawbox,
The Slits,
The Durutti Column,
Main Source,
the Sonics,
Von Mondo,
Visage,
Infiniti,
Aaron Thompson,
Japan,
Adolescents,
Marc Romboy vs. Booka Shade,
48th St. Collective,
Byron Stingily,
Dark Day,
Glambeats Corp.,
John Foxx,
Neil Young & Crazy Horse,
Banda Bassotti,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Charles Mingus,
Marmalade,
The Fugs,
Sarah Menescal,
Neu!,
Echospace,
Silicon Teens,
Fela Kuti, Fela Kuti, Fela Kuti, Fela Kuti.
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.