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 Ethiopia and from Tokyo.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Woodstock.
I'm losing my edge to the art-school Beijing 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the marimba sounds with much patience.
I was there when Nile Rodgers 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 Glenn Branca to the rap 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 Leonard Cohen. All the underground hits.
All Joyce Sims tracks. I heard you have a vinyl of every Whodini 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 '70s cut and another box set from the '80s.
I hear you're buying a guitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Liaisons Dangereuses record.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear that you and your band have sold your snare 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 Beau Brummels,
Country Joe & The Fish,
Jacob Miller,
The Count Five,
Susan Cadogan,
Matthew Halsall,
Traffic Nightmare,
Infiniti,
Henry Cow,
Richard Hell and the Voidoids,
Girls At Our Best!,
Absolute Body Control,
Lindisfarne,
The Martian,
Symarip,
Dark Day,
Eve St. Jones,
Camberwell Now,
Glambeats Corp.,
Laurel Aitken,
Das Ding,
Procol Harum,
Louis and Bebe Barron,
Eric Copeland,
Drexciya,
Cluster,
Howard Jones,
Whodini,
Letta Mbulu,
Drive Like Jehu,
The Star Department,
Visionaries,LMNO, T- Love & Iriscience,
Suburban Knight,
Alphaville,
Cymande,
Jandek,
Monolake,
Public Image Ltd.,
Nirvana,
The Angels of Light,
The Litter,
Cecil Taylor,
Deutsch Amerikanische Freundschaft,
Robert Wyatt,
Liaisons Dangereuses,
Junior Murvin,
Fear,
Hoover,
The Techniques,
Soft Machine,
Mars,
Little Man,
Heaven 17,
Accadde A,
Scratch Acid,
Radio Birdman,
Nik Kershaw,
Judy Mowatt,
Gian Franco Pienzio,
Mary Jane Girls,
LL Cool J,
Fluxion, Fluxion, Fluxion, Fluxion.
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.