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 Turkmenistan and from Madrid.
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 1972.
I'm losing my edge.
To all the kids in Milan and Copenhagen.
I'm losing my edge to the art-school Mexico City 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 Josef K practice in a loft in Edinburgh.
I was working on the arpeggiator sounds with much patience.
I was there when Tom Verlaine 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 LL Cool J to the electroclash 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 Talk Talk. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every Be Bop Deluxe record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a sitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Royal Trux,
the Human League,
the Bar-Kays,
Warren Ellis,
Stiv Bators,
Judy Mowatt,
The Residents,
The Star Department,
Agent Orange,
Gang Starr,
Barrington Levy,
David McCallum,
Nirvana,
Bad Manners,
Notorious Big And Bone Thugs,
Con Funk Shun,
Danielle Patucci,
Steve Hackett,
Jacques Brel,
Rosa Yemen,
Circle Jerks,
The West Coast Pop Art Experimental Band,
Gil Scott-Heron and Jamie xx,
June Days,
Barclay James Harvest,
The Doobie Brothers,
Sound Behaviour,
Idris Muhammad,
LL Cool J,
The Real Kids,
Lee Hazlewood,
Erasure,
Gil Scott-Heron & Brian Jackson,
Pantaleimon,
The Mighty Diamonds,
Spandau Ballet,
Fugazi,
The Kinks,
Manfred Mann's Earth Band,
Cluster,
Teenage Jesus and the Jerks,
Bootsy Collins,
Scott Walker + Sunn O))),
Ponytail,
Sex Pistols,
Blossom Toes,
Eurythmics,
The Royal Family And The Poor,
Camouflage,
The Pretty Things,
James White and The Blacks,
Tom Boy,
Traffic Nightmare,
Ultimate Spinach,
Model 500,
Altered Images,
Kas Product,
Kerrie Biddell,
The Doors,
Grey Daturas,
Suburban Knight,
Crispy Ambulance,
Index, Index, Index, Index.
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.