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 Niger and from Manila.
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 1978.
I'm losing my edge.
To all the kids in Bremen and Paris.
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 1983 at the first Bronski Beat practice in a loft in Brixton.
I was working on the güiro 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 Black Bananas to the funk kids.
I played it at the Troubador.
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 Scratch Acid. All the underground hits.
All The Monks tracks. I heard you have a vinyl of every Soulsonic Force 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 '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Duran Duran record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Techniques,
Bizarre Inc.,
X-101,
Masters at Work,
Pylon,
Charles Mingus,
The Alarm Clocks,
The Velvet Underground,
The Jesus and Mary Chain,
Gabor Szabo,
Wings,
Brick,
Aural Exciters,
The Toasters,
Lizzy Mercier Descloux,
Albert Ayler,
Rosa Yemen,
Piero Umiliani,
Wally Richardson,
Inner City,
Kings Of Tomorrow,
ABBA,
Television,
Visage,
The Evens,
Marvin Gaye,
One Last Wish,
the Human League,
Lou Reed,
the Bar-Kays,
The Litter,
Minnie Riperton,
The Pretty Things,
Donny Hathaway,
Mr. Review,
Richard Hell and the Voidoids,
The Black Dice,
The Doobie Brothers,
T. Rex,
Scientists,
Marine Girls,
Jeff Mills,
Barbara Tucker,
Ronnie Foster,
Babytalk,
Louis and Bebe Barron,
Royal Trux,
Traffic Nightmare,
John Cale,
Sunsets and Hearts,
Saccharine Trust,
Terry Callier,
Chris & Cosey,
8 Eyed Spy,
Skriet,
Joe Finger,
Curtis Mayfield,
Suburban Knight,
Terrestrial Tones,
Japan,
Juan Atkins,
Swans,
Desert Stars,
Maurizio,
Metal Thangz, Metal Thangz, Metal Thangz, Metal Thangz.
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.