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 Madagascar and from Lille.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Delhi and Stockholm.
I'm losing my edge to the art-school New York 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 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 Lindisfarne to the dance kids.
I played it at the 40 Watt.
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 Depeche Mode. All the underground hits.
All Sonny Sharrock tracks. I heard you have a vinyl of every Leonard Cohen record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Rapeman record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Pop Group,
Michelle Simonal,
Supertramp,
Echo & the Bunnymen,
Quando Quango,
The Wake,
JFA,
Warren Ellis,
The Alarm Clocks,
Sun Ra,
Kool Moe Dee,
Brothers Johnson,
Malaria!,
Justin Hinds & The Dominoes,
Sight & Sound,
Nas,
Sun Ra Arkestra,
Tubeway Army,
Mandrill,
Kango’s Stein Massive,
The Neon Judgement,
The Five Americans,
Sun City Girls,
Ultravox,
Jacques Brel,
Qualms,
Terry Callier,
Electric Prunes,
New Order,
A Certain Ratio,
Babytalk,
Teenage Jesus and the Jerks,
The Slits,
KRS-One,
Can,
Unwound,
Scott Walker,
Siglo XX,
London Community Gospel Choir,
Soft Machine,
Althea and Donna,
Marine Girls,
World's Most,
The Names,
Marmalade,
Inner City,
Jesper Dahlbäck,
Minutemen,
Amon Düül,
Tom Boy,
Depeche Mode,
Half Japanese,
Slave,
Juan Atkins,
Iggy Pop,
Dead Boys,
Thee Headcoats,
Bob Dylan,
Rhythm & Sound,
Whodini,
Max Romeo,
Glenn Branca,
Ice-T, Ice-T, Ice-T, Ice-T.
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.