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 Palau and from Milan.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Hong Kong and Mumbai.
I'm losing my edge to the art-school Hong Kong 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 1968 at the first Bowie practice in a loft in Bromley.
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 Janne Schatter to the punk 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 Boogie Down Productions. All the underground hits.
All Connie Case tracks. I heard you have a vinyl of every Traffic Nightmare 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 '50s cut and another box set from the '90s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Kurtis Blow record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Monochrome Set,
Kauko Röyhkä ja Narttu,
Fat Boys,
Ludus,
Black Sheep,
Donny Hathaway,
Little Man,
Lee Hazlewood,
Tim Buckley,
Neil Young & Crazy Horse,
Japan,
Big Daddy Kane,
London Community Gospel Choir,
Funky Four + One,
MDC,
The Residents,
Dead Boys,
Eli Mardock,
Bauhaus,
The Mojo Men,
Todd Terry,
The Standells,
Youth Brigade,
Gil Scott-Heron and Jamie xx,
Kaleidoscope,
Ossler,
The Busters,
Sad Lovers and Giants,
The Cure,
Main Source,
Brothers Johnson,
Reagan Youth,
ABC,
Subhumans,
Curtis Mayfield,
Johnny Clarke,
Heaven 17,
Stiv Bators,
The Young Rascals,
Gang Green,
Robert Görl,
Talk Talk,
Model 500,
Blake Baxter,
Trumans Water,
Brass Construction,
Art Ensemble Of Chicago,
Avey Tare's Slasher Flicks,
Gil Scott Heron,
The Grass Roots,
X-102,
Louis and Bebe Barron,
These Immortal Souls,
Jerry Gold Smith,
Franke,
Procol Harum,
Tubeway Army,
The Move,
Mad Mike, Mad Mike, Mad Mike, Mad Mike.
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.