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 Samoa and from Salvador.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Seoul and Beijing.
I'm losing my edge to the art-school Bremen 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 1984 at the first Arcadia practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when David Bowie 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 The Names to the rock 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 Buzzcocks. All the underground hits.
All Au Pairs tracks. I heard you have a vinyl of every Davy DMX 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 '60s cut and another box set from the '70s.
I hear you're buying a sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Easy Going record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Cabaret Voltaire,
New York Dolls,
Moby Grape,
The Fire Engines,
The Five Americans,
Jeff Lynne,
U.S. Maple,
Sparks,
Wally Richardson,
LL Cool J,
The Move,
The Electric Prunes,
Sunsets and Hearts,
The West Coast Pop Art Experimental Band,
Public Image Ltd.,
N.O.R.E. Featuring Pharrell,
Red Lorry Yellow Lorry,
Juan Atkins,
World's Most,
Barclay James Harvest,
It's A Beautiful Day,
Pylon,
Section 25,
The Invisible,
Fatback Band,
Avey Tare,
Rufus Thomas,
The Gun Club,
the Bar-Kays,
Dead Boys,
Todd Terry,
Groovy Waters,
The Tremeloes,
JFA,
Unrelated Segments,
Echo & the Bunnymen,
Siglo XX,
Sarah Menescal,
Anakelly,
Crispy Ambulance,
Los Fastidios,
Lou Reed & John Cale,
Slave,
Lucky Dragons,
The Index,
Be Bop Deluxe,
Jerry's Kids,
Suburban Knight,
Reagan Youth,
Zapp,
Supertramp,
Delta 5,
Laurel Aitken,
Arthur Verocai,
Quantec,
Bob Dylan,
Eric B and Rakim,
Flipper,
La Düsseldorf,
Junior Murvin,
Crispian St. Peters,
Lee Hazlewood,
Black Bananas, Black Bananas, Black Bananas, Black Bananas.
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.