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 Cambodia and from Johannesburg.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Bremen and Toronto.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the snare 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 Con Funk Shun to the electroclash 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 the Bar-Kays. All the underground hits.
All Shuggie Otis tracks. I heard you have a vinyl of every Desert Stars record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a The Music Machine record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T.S.O.L.,
Scion,
The Five Americans,
The Moleskins,
The Red Krayola,
CMW,
Maurizio,
Oblivians,
Shoche,
Al Stewart,
It's A Beautiful Day,
Ajijia Myrayebe,
the Sonics,
the Soft Cell,
Kauko Röyhkä ja Narttu,
Richard Hell and the Voidoids,
Maleditus Sound,
Nick Fraelich,
The Kinks,
Moss Icon,
Nas,
The Birthday Party,
Pantaleimon,
Tom Boy,
Notorious Big And Bone Thugs,
Mo-Dettes,
Major Organ And The Adding Machine,
Funky Four + One,
Spandau Ballet,
Thinking Fellers Union Local 282,
Deakin,
The J.B.'s,
Girls At Our Best!,
Joey Negro,
Kool Moe Dee,
Stiv Bators,
The Monochrome Set,
8 Eyed Spy,
The New Christs,
Amon Düül,
Jeru the Damaja,
Cheater Slicks,
Sound Behaviour,
Amon Düül II,
Lonnie Liston Smith,
DNA,
Jesper Dahlbäck,
Soft Machine,
Wasted Youth,
The Vogues,
Piero Umiliani,
The Wake,
Notorious BIG live in Amsterdam,
Warren Ellis,
The Modern Lovers,
Sad Lovers and Giants,
Brand Nubian,
a-ha,
Stereo Dub,
Sam Rivers,
Supertramp,
H. Thieme,
The Misunderstood,
Crime, Crime, Crime, Crime.
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.