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 Haiti and from Delhi.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Copenhagen and London.
I'm losing my edge to the art-school Houston 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 chamberlin sounds with much patience.
I was there when Michael McDonald 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 Blancmange to the grime 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 Alphaville. All the underground hits.
All Ultramagnetic MC's tracks. I heard you have a vinyl of every Sarah Menescal record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a snare and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a John Coltrane record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barrington Levy,
Selector Dub Narcotic,
Negative Approach,
Lucky Dragons,
Avey Tare & Kría Brekkan,
Spoonie Gee,
The Alarm Clocks,
Surgeon,
Andrew Ashong & Theo Parrish,
The Smoke,
Sunsets and Hearts,
Fear,
The American Breed,
Eurythmics,
The Velvet Underground,
Mr. Review,
Accadde A,
Jesper Dahlback,
Ronnie Foster,
Scrapy,
Stetsasonic,
China Crisis,
Sexual Harrassment,
Roxy Music,
Con Funk Shun,
La Düsseldorf,
The United States of America,
Strawberry Alarm Clock,
Severed Heads,
The Move,
Agitation Free,
Brothers Johnson,
The Mighty Diamonds,
Q and Not U,
Rotary Connection,
Porter Ricks,
Frankie Knuckles,
Stockholm Monsters,
Basic Channel,
Tubeway Army,
Mary Jane Girls,
Ohio Players,
Kings Of Tomorrow,
Gang Gang Dance,
Dawn Penn,
Cybotron,
Johnny Clarke,
Lower 48,
Barbara Tucker,
The Leaves,
Ituana,
Lou Reed,
the Soft Cell,
The Zeros,
Crash Course in Science,
Faraquet,
Gang Starr,
Rosa Yemen,
Anakelly,
Deadbeat,
Sister Nancy,
The Slits,
Major Organ And The Adding Machine,
Procol Harum, Procol Harum, Procol Harum, Procol Harum.
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.