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 Ecuador and from Sao Paulo.
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 1965 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Johannesburg.
I'm losing my edge to the art-school Salvador 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 chamberlin 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 It's A Beautiful Day to the grunge 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 Camouflage. All the underground hits.
All Rakim tracks. I heard you have a vinyl of every The Selecter record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Qualms record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minny Pops,
James White and The Blacks,
H. Thieme,
Soft Cell,
Marc Romboy vs. Booka Shade,
The Slackers,
Justin Hinds & The Dominoes,
Gang of Four,
The New Christs,
Thee Headcoats,
Mantronix,
Cymande,
Rosa Yemen,
Kevin Saunderson,
Excepter,
Piero Umiliani,
Ajijia Myrayebe,
F. McDonald,
The Vogues,
Pere Ubu,
Urselle,
Radiopuhelimet,
Lucky Dragons,
New York Dolls,
The J.B.'s,
Gastr Del Sol,
Thinking Fellers Union Local 282,
The Move,
Suburban Knight,
Curtis Mayfield,
Rakim,
Bizarre Inc.,
Suicide,
Oblivians,
Judy Mowatt,
Jacques Brel,
Bill Wells,
Josef K,
the Slits,
Aural Exciters,
The American Breed,
Sun City Girls,
Connie Case,
Robert Wyatt,
Angels of Light & Akron/Family,
Kas Product,
A Flock of Seagulls,
World's Most,
Hot Snakes,
Soul II Soul,
Beasts of Bourbon,
Animal Collective,
The Slits,
The Tremeloes,
The Sonics,
Mad Mike,
The Misunderstood,
The Cosmic Jokers,
Grauzone,
Ohio Players,
The Kinks,
Anakelly,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.