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 Kenya and from Bremen.
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 1961 to 1977.
I'm losing my edge.
To all the kids in Salvador and Sao Paulo.
I'm losing my edge to the art-school Toronto 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 1984 at the first Arcadia practice in a loft in London.
I was working on the snare 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 Kas Product to the punk kids.
I played it at the Crocodile.
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 the Germs. All the underground hits.
All Matthew Bourne tracks. I heard you have a vinyl of every kango's stein massive record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a marimba and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Pharaoh Sanders and the Fire Engines record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eyeless In Gaza,
The Move,
Radiohead,
Bang on a Can All-Stars,
The Selecter,
The Mighty Diamonds,
Graham Central Station,
Massinfluence,
Deakin,
Harmonia,
Beasts of Bourbon,
Eurythmics,
The Seeds,
Rotary Connection,
The Smoke,
Joe Finger,
The Walker Brothers,
Con Funk Shun,
Don Cherry,
Scrapy,
Deadbeat,
Nation of Ulysses,
Negative Approach,
Porter Ricks,
New Age Steppers,
The New Christs,
The American Breed,
Liliput,
Ash Ra Tempel,
Reuben Wilson,
Babytalk,
Excepter,
One Last Wish,
Electric Light Orchestra,
Q and Not U,
Tropical Tobacco,
Thinking Fellers Union Local 282,
Malaria!,
Peter & Gordon,
Fugazi,
The Electric Prunes,
Whodini,
Faust,
Kevin Saunderson,
Danielle Patucci,
Wally Richardson,
Cabaret Voltaire,
Half Japanese,
Faraquet,
L. Decosne,
Ponytail,
The Peanut Butter Conspiracy,
John Lydon,
Unrelated Segments,
The United States of America,
Zero Boys,
Andrew Hill,
Radio Birdman,
Tears for Fears,
The Residents,
Neil Young,
Aloha Tigers,
Deepchord,
Dawn Penn,
Ossler, Ossler, Ossler, Ossler.
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.