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 Moldova and from Portland.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Paris and Hong Kong.
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 Human League practice in a loft in Sheffield.
I was working on the harpsichord sounds with much patience.
I was there when Donald Fagen 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 Bush Tetras to the dance 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 Minutemen. All the underground hits.
All OOIOO tracks. I heard you have a vinyl of every Masters at Work record on German import.
I heard that you have a white label of every seminal techno 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 linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Rekid record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Icehouse,
Ralphi Rosario,
Marc Almond,
Pet Shop Boys,
Scratch Acid,
Archie Shepp,
Monolake,
The Fortunes,
Tim Buckley,
Mary Jane Girls,
Flash Fearless,
Larry & the Blue Notes,
Oneida,
The Victims,
The Toasters,
Orchestral Manoeuvres in the Dark,
Avey Tare's Slasher Flicks,
The Offenders,
Brick,
Grey Daturas,
K-Klass,
Rowland S Howard / Lydia Lunch,
Barry Ungar,
The Young Rascals,
Rhythm & Sound,
Hot Snakes,
Arcadia,
Smog,
Agitation Free,
Big Daddy Kane,
Anakelly,
Duran Duran,
Spandau Ballet,
The Cowsills,
Camberwell Now,
Gichy Dan,
Pussy Galore,
Circle Jerks,
The Doors,
Avey Tare,
Sparks,
Jacques Brel,
Royal Trux,
8 Eyed Spy,
Vaughan Mason & Crew,
The Residents,
Super Lover Cee & Casanova Rud,
Japan,
Byron Stingily,
Basic Channel,
Con Funk Shun,
Index,
Robert Görl,
Unwound,
Harpers Bizarre,
Kauko Röyhkä ja Narttu,
Das Ding,
H. Thieme,
Bill Near,
Ituana,
Scott Walker,
Echospace,
Michelle Simonal, Michelle Simonal, Michelle Simonal, Michelle Simonal.
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.