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 Israel and from Mumbai.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Bremen and Paris.
I'm losing my edge to the art-school Manila 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 Sly & The Family Stone to the rock kids.
I played it at CBGB's.
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 Pierre Henry. All the underground hits.
All Easy Going tracks. I heard you have a vinyl of every Marshall Jefferson record on German import.
I heard that you have a white label of every seminal electroclash 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 sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Skarface record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Vogues,
Smog,
Fugazi,
Johnny Clarke,
Vainqueur,
The Offenders,
Kerrie Biddell,
Fifty Foot Hose,
Warsaw,
Orchestral Manoeuvres in the Dark,
The Misunderstood,
Crooked Eye,
Pantytec,
The Standells,
Avey Tare's Slasher Flicks,
Notorious Big And Bone Thugs,
Goldenarms,
Idris Muhammad,
Loose Ends,
Angels of Light & Akron/Family,
Liliput,
Ajijia Myrayebe,
Siouxsie and the Banshees,
the Soft Cell,
10cc,
Circle Jerks,
Hot Snakes,
Ice-T,
Can,
Sad Lovers and Giants,
Model 500,
Fela Kuti,
Freddie Wadling,
Essential Logic,
The Star Department,
Dead Boys,
Country Teasers,
Mo-Dettes,
Fort Wilson Riot,
Stiv Bators,
The Peanut Butter Conspiracy,
Fad Gadget,
Pulsallama,
Pagans,
Parry Music,
Duran Duran,
The Angels of Light,
Althea and Donna,
Suburban Knight,
Marcia Griffiths,
Scion,
Procol Harum,
Second Layer,
Röyhkä ja Rättö ja Lehtisalo,
The Kinks,
Bobby Sherman,
Soulsonic Force,
Bush Tetras,
Zapp,
Roy Ayers,
Rowland S Howard / Lydia Lunch,
B.T. Express,
Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck.
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.