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 Spain and from Cairo.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Spokane and Madrid.
I'm losing my edge to the art-school Mumbai 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 theremin sounds with much patience.
I was there when Lou Reed 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 Selecter to the grunge 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 Joensuu 1685. All the underground hits.
All London Community Gospel Choir tracks. I heard you have a vinyl of every a-ha record on German import.
I heard that you have a white label of every seminal rap 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 synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a In Retrospect record.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Symarip,
Mr. Review,
The Jesus and Mary Chain,
Theoretical Girls,
Jesper Dahlback,
UT,
Delta 5,
Slick Rick,
Todd Terry,
Nas,
Drexciya,
Kerrie Biddell,
The American Breed,
Make Up,
Cheater Slicks,
Gichy Dan,
The Standells,
T. Rex,
Fatback Band,
Reagan Youth,
Malaria!,
Pet Shop Boys,
Babytalk,
Ralphi Rosario,
Lee Hazlewood,
Johnny Clarke,
the Sonics,
Jerry Gold Smith,
New Order,
Kool Moe Dee,
Fugazi,
Siouxsie and the Banshees,
David McCallum,
Urselle,
Bob Dylan,
Scion,
Quantec,
Kurtis Blow,
Sister Nancy,
Leonard Cohen,
Idris Muhammad,
Parry Music,
Harry Pussy,
Johnny Osbourne,
Colin Newman,
Black Moon,
The New Christs,
John Holt,
Piero Umiliani,
June of 44,
Peter Gordon & Love of Life Orchestra,
Major Organ And The Adding Machine,
Pole,
Red Lorry Yellow Lorry,
Schoolly D,
Blake Baxter,
Cal Tjader,
Funkadelic,
Stockholm Monsters,
Gil Scott-Heron & Brian Jackson,
Massinfluence,
Hasil Adkins, Hasil Adkins, Hasil Adkins, Hasil Adkins.
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.