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 Malawi and from Columbus.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Salvador and Shanghai.
I'm losing my edge to the art-school Woodstock 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 1978 at the first Visage practice in a loft in London.
I was working on the organ sounds with much patience.
I was there when Captain Beefheart 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 Minutemen to the techno kids.
I played it at the Spitz.
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 James White and The Blacks. All the underground hits.
All The Jesus and Mary Chain tracks. I heard you have a vinyl of every Easy Going record on German import.
I heard that you have a white label of every seminal techno 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 marimba and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Tremeloes record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Laurel Aitken,
John Cale,
The Slackers,
kango's stein massive,
Flipper,
Chris & Cosey,
DJ Sneak,
David Bowie,
X-102,
Bobby Sherman,
Los Fastidios,
The Toasters,
Liliput,
Gastr Del Sol,
Gang Green,
James White and The Blacks,
Gong,
Soft Machine,
the Bar-Kays,
Bootsy Collins,
Kaleidoscope,
Unrelated Segments,
The Moleskins,
Idris Muhammad,
A Certain Ratio,
Judy Mowatt,
Aloha Tigers,
Todd Terry,
Severed Heads,
The Modern Lovers,
Cabaret Voltaire,
The Gap Band,
Oblivians,
Fatback Band,
Barbara Tucker,
The Busters,
The Zeros,
Minutemen,
Rites of Spring,
Kango’s Stein Massive,
Visage,
Joe Finger,
Symarip,
Strawberry Alarm Clock,
Chris Corsano,
Gichy Dan,
Freddie Wadling,
Lonnie Liston Smith,
Nick Cave & The Bad Seeds,
Sonny Sharrock,
The Peanut Butter Conspiracy,
The Doobie Brothers,
Frankie Knuckles,
Glambeats Corp.,
Cheater Slicks,
Ohio Players,
Rahsaan Roland Kirk,
Pere Ubu,
Audionom,
Maurizio,
The Invisible, The Invisible, The Invisible, The Invisible.
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.