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 Albania and from Milan.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1962 to 1976.
I'm losing my edge.
To all the kids in Taipei and Beijing.
I'm losing my edge to the art-school Sao Paulo 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 rhodes sounds with much patience.
I was there when Donald Fagen 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 Aaron Thompson to the punk kids.
I played it at the Hacienda.
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 Music Machine. All the underground hits.
All Bad Manners tracks. I heard you have a vinyl of every Boogie Down Productions 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 '80s.
I hear you're buying an organ and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Black Sheep record.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy Collins,
James White and The Blacks,
Japan,
Minutemen,
Circle Jerks,
Amazonics,
10cc,
Vladislav Delay,
Dead Boys,
Donny Hathaway,
Sister Nancy,
Blossom Toes,
Spandau Ballet,
Amon Düül,
Junior Murvin,
The Fugs,
Lower 48,
Be Bop Deluxe,
Ronan,
The Men They Couldn't Hang,
Siglo XX,
Lakeside,
The Jesus and Mary Chain,
Theoretical Girls,
Ultravox,
The Trojans,
The Victims,
Bobbi Humphrey,
Fluxion,
Nils Olav,
Jesper Dahlback,
Magazine,
Kool Moe Dee,
Fugazi,
The Blues Magoos,
Tears for Fears,
Audionom,
Lou Reed & Metallica,
The Music Machine,
Aaron Thompson,
Röyhkä ja Rättö ja Lehtisalo,
Skaos,
Hot Snakes,
Moby Grape,
The Beau Brummels,
Thompson Twins,
Unrelated Segments,
Ohio Players,
Aural Exciters,
AZ,
Louis and Bebe Barron,
Eurythmics,
The Five Americans,
Radiopuhelimet,
Faraquet,
Groovy Waters,
Rod Modell,
John Coltrane,
The Fortunes,
EPMD,
A Certain Ratio, A Certain Ratio, A Certain Ratio, A Certain Ratio.
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.