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 Jamaica and from Mexico City.
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 1964 to 1975.
I'm losing my edge.
To all the kids in Beijing and Shanghai.
I'm losing my edge to the art-school Portland 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the arpeggiator 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 Sunsets and Hearts to the rock 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 Boredoms. All the underground hits.
All Faraquet tracks. I heard you have a vinyl of every Rufus Thomas record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Roy Ayers Ubiquity record.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Remains,
Public Image Ltd.,
Parry Music,
Sly & The Family Stone,
Lindisfarne,
Aloha Tigers,
Electric Prunes,
The Smiths,
The Techniques,
Swell Maps,
Jandek,
Bootsy Collins,
James White and The Blacks,
Second Layer,
Cabaret Voltaire,
Eddi Front,
Iggy Pop,
Kango’s Stein Massive,
Spoonie Gee,
Con Funk Shun,
Louis and Bebe Barron,
Aaron Thompson,
The Neon Judgement,
Pylon,
Lebanon Hanover,
Y Pants,
Dual Sessions,
Super Lover Cee & Casanova Rud,
The Saints,
EPMD,
The Fugs,
Andrew Hill,
Bill Wells,
Roy Ayers Ubiquity,
Harmonia,
Leonard Cohen,
Roy Ayers,
Terrestrial Tones,
Fugazi,
Lyres,
Slick Rick,
Yellowson,
Heavy D & The Boyz,
The Slits,
Vaughan Mason & Crew,
Ossler,
Amazonics,
Radiohead,
Bobby Sherman,
X-102,
Adolescents,
B.T. Express,
Stereo Dub,
In Retrospect,
Soul Sonic Force,
Infiniti,
The Busters,
Intrusion,
the Germs,
Althea and Donna,
Marvin Gaye,
Chrome, Chrome, Chrome, Chrome.
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.