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 Malta and from Taipei.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1974.
I'm losing my edge.
To all the kids in Taipei and Bologna.
I'm losing my edge to the art-school Lyon 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 harpsichord 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 Nico to the grunge 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 Sällskapet. All the underground hits.
All Jesper Dahlback tracks. I heard you have a vinyl of every Stetsasonic record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Star Department record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
Juan Atkins,
Severed Heads,
Notorious Big And Bone Thugs,
Bootsy Collins,
Mantronix,
Lizzy Mercier Descloux,
Dorothy Ashby,
De La Soul & Jungle Brothers,
DNA,
Davy DMX,
The Last Poets,
Quando Quango,
Johnny Osbourne,
The Names,
the Swans,
Howard Jones,
London Community Gospel Choir,
The Raincoats,
The Pop Group,
Newcleus,
the Germs,
Gang Green,
Goldenarms,
Harmonia,
Terrestrial Tones,
Nico,
Saccharine Trust,
The Monks,
Electric Prunes,
The West Coast Pop Art Experimental Band,
MC5,
Jeru the Damaja,
The Cramps,
Scion,
Matthew Bourne,
The Fall,
Los Fastidios,
Jesper Dahlbäck,
Delta 5,
Amon Düül,
Surgeon,
Crime,
The United States of America,
Absolute Body Control,
T.S.O.L.,
Bill Wells,
Kaleidoscope,
Sex Pistols,
Mission of Burma,
The Chocolate Watch Band,
The Index,
Buzzcocks,
PIL,
Black Moon,
John Coltrane,
Funky Four + One,
Drive Like Jehu,
Boogie Down Productions,
Kerrie Biddell, Kerrie Biddell, Kerrie Biddell, Kerrie Biddell.
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.