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 Cambodia 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 1961 to 1970.
I'm losing my edge.
To all the kids in Woodstock and London.
I'm losing my edge to the art-school Shanghai 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the spring reverb sounds with much patience.
I was there when Tom Verlaine 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 Pylon to the funk kids.
I played it at the Roxy.
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 Alphaville. All the underground hits.
All Boogie Down Productions tracks. I heard you have a vinyl of every Pharoah Sanders record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Depeche Mode record.
I hear that you and your band have sold your mellotron and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
De La Soul & Jungle Brothers,
DNA,
Richard Hell and the Voidoids,
Rekid,
The Leaves,
The Victims,
Severed Heads,
Traffic Nightmare,
Al Stewart,
Gil Scott-Heron and Jamie xx,
Archie Shepp,
Mr. Review,
World's Most,
Index,
Oblivians,
KRS-One,
Au Pairs,
UT,
Orchestral Manoeuvres in the Dark,
The New Christs,
Faraquet,
Unrelated Segments,
X-102,
the Swans,
Suburban Knight,
Henry Cow,
MDC,
Gerry Rafferty,
The Buckinghams,
Brass Construction,
Japan,
Hardrive,
the Association,
Erasure,
Jeff Lynne,
Terror Squad Feat. Camron,
Danielle Patucci,
The Monks,
Fugazi,
Throbbing Gristle,
Wire,
Skriet,
Scion,
The Cramps,
Monolake,
Adolescents,
The Sisters of Mercy,
Magazine,
Liliput,
Major Organ And The Adding Machine,
Ralphi Rosario,
Dave Gahan,
Ossler,
Pharoah Sanders,
Max Romeo,
Pharaoh Sanders and the Fire Engines,
Kool G Rap & DJ Polo,
Alison Limerick,
Avey Tare,
Flash Fearless,
Lakeside, Lakeside, Lakeside, Lakeside.
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.