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 East Timor and from Mumbai.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1968 to 1972.
I'm losing my edge.
To all the kids in Taipei and Stockholm.
I'm losing my edge to the art-school Bremen 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 güiro sounds with much patience.
I was there when Lou Reed 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 Brick to the dance 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 Interpol. All the underground hits.
All Sparks tracks. I heard you have a vinyl of every Flipper record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a chamberlin and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Skaos record.
I hear that you and your band have sold your chamberlin and bought a theremin.
I hear that you and your band have sold your theremin and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ultravox,
Black Sheep,
Cybotron,
The Selecter,
OOIOO,
The Monks,
The Happenings,
Captain Beefheart & His Magic Band,
48th St. Collective,
Kango’s Stein Massive,
Mr. Review,
The Index,
Aloha Tigers,
Trumans Water,
Flamin' Groovies,
Jesper Dahlback,
The Smoke,
Newcleus,
Rufus Thomas,
Fela Kuti,
Amon Düül,
The Pretty Things,
The United States of America,
Harmonia,
Make Up,
8 Eyed Spy,
The Electric Prunes,
The Residents,
Robert Wyatt,
Whodini,
Thee Headcoats,
Barrington Levy,
Second Layer,
Deepchord,
The Red Krayola,
The Slits,
Dawn Penn,
Scion,
The Gap Band,
Swans,
Warsaw,
Sex Pistols,
Drive Like Jehu,
Robert Görl,
Joyce Sims,
Avey Tare,
The Durutti Column,
Scientists,
Godley & Creme,
Spandau Ballet,
Mandrill,
Be Bop Deluxe,
Sister Nancy,
The Modern Lovers,
Beasts of Bourbon,
Television,
Barclay James Harvest,
John Lydon,
Section 25,
It's A Beautiful Day,
Eurythmics, Eurythmics, Eurythmics, Eurythmics.
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.