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 Burundi and from London.
But I was there.
I was there in 1967.
I was there at the first Rodriguez show in Detroit.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Paris and Copenhagen.
I'm losing my edge to the art-school Winnipeg 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 1976 at the first Wire practice in a loft in Watford.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 Drive Like Jehu to the grunge 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 The Divine Comedy. All the underground hits.
All Dawn Penn tracks. I heard you have a vinyl of every Harpers Bizarre record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Notorious Big And Bone Thugs record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jesper Dahlbäck,
Gerry Rafferty,
Black Pus,
Grandmaster Flash,
R.M.O.,
Monks,
Fad Gadget,
Lower 48,
The Gun Club,
Soul II Soul,
Joe Finger,
Los Fastidios,
Monolake,
Fugazi,
Guru Guru,
H. Thieme,
Prince Buster,
Amon Düül II,
The Stooges,
Mark Hollis,
The Dirtbombs,
Ice-T,
Lebanon Hanover,
Fela Kuti,
Isaac Hayes,
Barrington Levy,
Boogie Down Productions,
Pete Rock & C.L. Smooth,
Johnny Osbourne,
Avey Tare & Kría Brekkan,
Flash Fearless,
Unrelated Segments,
The Peanut Butter Conspiracy,
John Cale,
Suburban Knight,
Banda Bassotti,
Lightning Bolt,
Procol Harum,
Richard Hell and the Voidoids,
Bootsy's Rubber Band,
Peter and Kerry,
Severed Heads,
Strawberry Alarm Clock,
Stereo Dub,
PIL,
Depeche Mode,
Arab on Radar,
Joe Smooth,
Liliput,
New York Dolls,
Second Layer,
Television Personalities,
Ossler,
The Motions,
The Offenders,
Groovy Waters,
Gastr Del Sol,
Blancmange,
Erasure,
Sister Nancy, Sister Nancy, Sister Nancy, Sister Nancy.
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.