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 Mongolia and from Delhi.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Accra and New York.
I'm losing my edge to the art-school Madrid 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 808 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 The Black Dice to the funk 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 Bobby Sherman. All the underground hits.
All Ash Ra Tempel tracks. I heard you have a vinyl of every The Misunderstood record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Underground Resistance 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?
Gerry Rafferty,
Radiohead,
Slave,
Sällskapet,
Crispy Ambulance,
Swell Maps,
Can,
Sad Lovers and Giants,
The Fugs,
Justin Hinds & The Dominoes,
The Peanut Butter Conspiracy,
Bauhaus,
Rufus Thomas,
Reuben Wilson,
Roy Ayers Ubiquity,
Ajijia Myrayebe,
Country Teasers,
Camouflage,
Angry Samoans,
X-Ray Spex,
Pharaoh Sanders and the Fire Engines,
Aural Exciters,
Blancmange,
Ice-T,
Chrome,
Leonard Cohen,
PIL,
Hasil Adkins,
Animal Collective,
Delon & Dalcan,
Maurizio,
Deakin,
The New Christs,
The Remains,
The Knickerbockers,
Al Stewart,
Bizarre Inc.,
The Skatalites,
Stiv Bators,
Royal Trux,
Lee Hazlewood,
10cc,
The Slits,
John Lydon,
Livin' Joy,
Mad Mike,
The Pop Group,
Andrew Ashong & Theo Parrish,
Visage,
The Motions,
China Crisis,
Blossom Toes,
Moebius,
The Doors,
Skriet,
Eric B and Rakim,
These Immortal Souls,
Joensuu 1685,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.