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 Ireland 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 1966 to 1977.
I'm losing my edge.
To all the kids in Seoul and Calgary.
I'm losing my edge to the art-school Madrid 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 Art of Noise practice in a loft in London.
I was working on the guitar sounds with much patience.
I was there when Lou Reed 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 Wally Richardson to the techno 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 Tears for Fears. All the underground hits.
All Motorama tracks. I heard you have a vinyl of every Todd Terry record on German import.
I heard that you have a white label of every seminal crunk 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 synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Public Enemy record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Grandmaster Flash,
Derrick Morgan,
Jesper Dahlback,
Young Marble Giants,
The Mighty Diamonds,
U.S. Maple,
Absolute Body Control,
Albert Ayler,
Art Ensemble Of Chicago,
Ludus,
Panda Bear,
Pete Rock & C.L. Smooth,
Circle Jerks,
The Walker Brothers,
Pussy Galore,
The Invisible,
Suicide,
Ajijia Myrayebe,
R.M.O.,
Joensuu 1685,
Schoolly D,
Röyhkä ja Rättö ja Lehtisalo,
The Knickerbockers,
Marmalade,
Mars,
Zapp,
Fugazi,
Lightning Bolt,
Bad Manners,
The Real Kids,
Underground Resistance,
Lebanon Hanover,
Gil Scott-Heron & Brian Jackson,
The Gun Club,
DNA,
Public Image Ltd.,
Main Source,
Rowland S Howard / Lydia Lunch,
The Sound,
These Immortal Souls,
10cc,
Warsaw,
Desert Stars,
Radio Birdman,
Banda Bassotti,
Bobby Womack,
Johnny Clarke,
Zero Boys,
The Selecter,
Notorious BIG live in Amsterdam,
The Red Krayola,
Pagans,
The Young Rascals,
Heaven 17,
Glambeats Corp.,
One Last Wish,
Stiv Bators,
The Jesus and Mary Chain,
The Peanut Butter Conspiracy,
Bill Wells,
Sun City Girls,
DJ Sneak,
Scratch Acid, Scratch Acid, Scratch Acid, Scratch Acid.
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.