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 Iceland and from Seoul.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1963 to 1978.
I'm losing my edge.
To all the kids in Halifax and Edmonton.
I'm losing my edge to the art-school Paris 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 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 Accadde A to the funk kids.
I played it at the 40 Watt.
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 Mandrill. All the underground hits.
All Crime tracks. I heard you have a vinyl of every The American Breed 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 '80s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a John Holt record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
FM Einheit,
The Litter,
Davy DMX,
Amon Düül II,
Juan Atkins,
Easy Going,
The Moleskins,
Gang Starr,
Visionaries,LMNO, T- Love & Iriscience,
Boredoms,
The Royal Family And The Poor,
Bob Dylan,
Ohio Players,
Supertramp,
Audionom,
Jeru the Damaja,
Shuggie Otis,
Harmonia,
Janne Schatter,
Dead Boys,
Oblivians,
Louis and Bebe Barron,
Thee Headcoats,
The J.B.'s,
The Electric Prunes,
Mantronix,
Pierre Henry,
Soulsonic Force,
Matthew Bourne,
Skarface,
Eddi Front,
Gil Scott-Heron & Brian Jackson,
Laurel Aitken,
Peter Gordon & Love of Life Orchestra,
Todd Terry,
Masters at Work,
Rosa Yemen,
Richard Hell and the Voidoids,
Crash Course in Science,
T. Rex,
Mark Hollis,
Lungfish,
Tubeway Army,
Orchestral Manoeuvres in the Dark,
Gang Green,
Outsiders,
The Misunderstood,
Television,
Neil Young,
Dorothy Ashby,
Spandau Ballet,
the Sonics,
Eden Ahbez,
Tropical Tobacco,
Pantytec,
The Mummies,
Neu!,
AZ,
Interpol,
Pere Ubu,
Stiv Bators,
Teenage Jesus and the Jerks,
Marmalade, Marmalade, Marmalade, Marmalade.
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.