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 Nicaragua and from Tehran.
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 1963 to 1972.
I'm losing my edge.
To all the kids in Copenhagen and Sao Paulo.
I'm losing my edge to the art-school Lille 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the rhodes sounds with much patience.
I was there when Captain Beefheart 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 Visage 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 The Techniques. All the underground hits.
All Lou Reed & Metallica tracks. I heard you have a vinyl of every New Age Steppers record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Sound record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sly & The Family Stone,
Gil Scott-Heron and Jamie xx,
Lonnie Liston Smith,
Roxette,
The Count Five,
Derrick Morgan,
Moebius,
Pierre Henry,
The Angels of Light,
Fat Boys,
Lightning Bolt,
Arthur Verocai,
The American Breed,
Pulsallama,
Unrelated Segments,
Lizzy Mercier Descloux,
Avey Tare's Slasher Flicks,
Roy Ayers Ubiquity,
The Litter,
Mad Mike,
Derrick May,
Cabaret Voltaire,
Sister Nancy,
The Moody Blues,
Marvin Gaye,
Marc Romboy vs. Booka Shade,
The Monks,
The Fire Engines,
Section 25,
The Detroit Cobras,
Harpers Bizarre,
The Jesus and Mary Chain,
Lyres,
Rekid,
Dual Sessions,
Dennis Brown,
Tears for Fears,
Bill Near,
Deutsch Amerikanische Freundschaft,
Young Marble Giants,
One Last Wish,
The Slits,
Depeche Mode,
The Fugs,
Captain Beefheart & His Magic Band,
Eli Mardock,
Tomorrow,
Piero Umiliani,
Donald Byrd,
Rites of Spring,
Justin Hinds & The Dominoes,
Reagan Youth,
Tres Demented,
Iggy Pop,
Fatback Band,
Brothers Johnson,
Fifty Foot Hose,
Thompson Twins,
Sixth Finger,
Bauhaus,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.