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 Lithuania and from Accra.
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 1973.
I'm losing my edge.
To all the kids in Lagos and Woodstock.
I'm losing my edge to the art-school Portland 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the guitar 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 David McCallum to the grunge kids.
I played it at the Astoria.
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 Bauhaus. All the underground hits.
All Susan Cadogan tracks. I heard you have a vinyl of every Terror Squad Feat. Camron record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a mellotron and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Kenny Larkin record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Glambeats Corp.,
The Gladiators,
Marmalade,
Flipper,
Faust,
Infiniti,
The Sisters of Mercy,
Althea and Donna,
Pete Rock & C.L. Smooth,
Essential Logic,
UT,
Surgeon,
Rotary Connection,
Notorious BIG live in Amsterdam,
Soulsonic Force,
Notorious Big And Bone Thugs,
Mr. Review,
The West Coast Pop Art Experimental Band,
Lower 48,
Michelle Simonal,
Kings Of Tomorrow,
Deutsch Amerikanische Freundschaft,
Derrick May,
Public Enemy,
Spoonie Gee,
Dawn Penn,
Bobby Byrd,
Jerry's Kids,
Kayak,
The Slackers,
Stiv Bators,
Sight & Sound,
The Blackbyrds,
Brothers Johnson,
The Walker Brothers,
Ohio Players,
The Young Rascals,
Faraquet,
The Music Machine,
Toni Rubio,
Pierre Henry,
A Flock of Seagulls,
Kerri Chandler,
R.M.O.,
Supertramp,
David Bowie,
The Fire Engines,
The Alarm Clocks,
Cymande,
Dead Boys,
Camron Feat. Memphis Bleek And Beenie Seigel,
Khruangbin,
Jeru the Damaja,
The Busters,
The Happenings,
Oneida,
June of 44,
Brick,
The Peanut Butter Conspiracy,
Metal Thangz,
New Order,
Grauzone, Grauzone, Grauzone, Grauzone.
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.