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 Australia and from Shanghai.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Calgary and Taipei.
I'm losing my edge to the art-school Manila 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 1978 at the first Visage practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when Tom Verlaine 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 Searchers to the disco kids.
I played it at Trash.
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 Fluxion. All the underground hits.
All Camron Feat. Memphis Bleek And Beenie Seigel tracks. I heard you have a vinyl of every The Slits record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ronnie Foster,
Alice Coltrane,
Harry Pussy,
The Black Dice,
Kaleidoscope,
U.S. Maple,
Harpers Bizarre,
The Count Five,
Dennis Brown,
The Martian,
Electric Light Orchestra,
Dark Day,
Roxette,
Man Eating Sloth,
Throbbing Gristle,
The Leaves,
The Slackers,
The Toasters,
Vladislav Delay,
The J.B.'s,
Bob Dylan,
Groovy Waters,
Charles Mingus,
Joe Finger,
Bootsy's Rubber Band,
Sister Nancy,
Grey Daturas,
Alphaville,
Deadbeat,
Röyhkä ja Rättö ja Lehtisalo,
H. Thieme,
Marshall Jefferson,
The Golliwogs,
Sun Ra,
Smog,
Toni Rubio,
The Fuzztones,
Scion,
Mr. Review,
Gil Scott-Heron and Jamie xx,
Eric Dolphy,
Camberwell Now,
Lou Reed & Metallica,
The Monks,
The Men They Couldn't Hang,
Altered Images,
Schoolly D,
The Vogues,
Buzzcocks,
Joe Smooth,
Lou Christie,
The Star Department,
Sound Behaviour,
In Retrospect,
Cymande,
Eve St. Jones,
Intrusion,
Echospace,
Accadde A,
Country Joe & The Fish,
Carl Craig,
Soul II Soul,
Ohio Players, Ohio Players, Ohio Players, Ohio Players.
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.