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 Eritrea and from Bremen.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Delhi and Columbus.
I'm losing my edge to the art-school Manchester 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the rhodes 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 Camron Feat. Memphis Bleek And Beenie Seigel to the techno kids.
I played it at the Spitz.
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 Alison Limerick. All the underground hits.
All Sonic Youth tracks. I heard you have a vinyl of every Pantaleimon 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 '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Hashim,
Crispian St. Peters,
David Axelrod,
Half Japanese,
The Cure,
The Toasters,
Gang Gang Dance,
Roger Hodgson,
Brand Nubian,
The Blackbyrds,
the Swans,
Marine Girls,
Section 25,
Moss Icon,
Yusef Lateef,
Gong,
The Cosmic Jokers,
Larry & the Blue Notes,
the Bar-Kays,
Eric B and Rakim,
Blake Baxter,
Orchestral Manoeuvres in the Dark,
The Victims,
Metal Thangz,
Pussy Galore,
The Tremeloes,
Jawbox,
Lou Christie,
Gian Franco Pienzio,
Eric Dolphy,
Mr. Review,
Fort Wilson Riot,
Ralphi Rosario,
A Flock of Seagulls,
Arcadia,
Carl Craig,
Ronnie Foster,
June Days,
The Angels of Light,
the Human League,
The Barracudas,
Urselle,
Roy Ayers,
Sonic Youth,
Alton Ellis,
The Dead C,
Qualms,
The Cramps,
Pere Ubu,
Wighnomy Brothers & Robag Wruhme,
Bootsy Collins,
Absolute Body Control,
Theoretical Girls,
Rekid,
Colin Newman,
Robert Hood,
Black Sheep,
Siglo XX,
The Music Machine,
Rosa Yemen, Rosa Yemen, Rosa Yemen, Rosa Yemen.
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.