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 Comoros and from London.
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 1960 to 1976.
I'm losing my edge.
To all the kids in Lille and Philadelphia.
I'm losing my edge to the art-school Milan 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the spring reverb 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 DJ Style to the punk kids.
I played it at the Troubador.
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 Strawberry Alarm Clock. All the underground hits.
All Peter and Kerry tracks. I heard you have a vinyl of every Japan 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 '80s cut and another box set from the '90s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Detroit Cobras,
Crispy Ambulance,
Captain Beefheart & His Magic Band,
This Heat,
Grey Daturas,
Al Stewart,
John Lydon,
Adolescents,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Rotary Connection,
These Immortal Souls,
Morten Harket,
Fat Boys,
Eric Dolphy,
The Skatalites,
Massinfluence,
The Motions,
Gabor Szabo,
The Dirtbombs,
Ten City,
Dead Boys,
June of 44,
The American Breed,
Cluster,
Sun Ra,
The Gun Club,
Technova,
Nik Kershaw,
Hasil Adkins,
Joy Division,
Aaron Thompson,
Motorama,
Visionaries,LMNO, T- Love & Iriscience,
Barbara Tucker,
K-Klass,
Interpol,
Buzzcocks,
Mandrill,
Girls At Our Best!,
Sarah Menescal,
The Men They Couldn't Hang,
Chris Corsano,
David Axelrod,
The Royal Family And The Poor,
The Dave Clark Five,
Sight & Sound,
Altered Images,
EPMD,
Joensuu 1685,
Ajijia Myrayebe,
DJ Style,
Max Romeo,
a-ha,
Deepchord,
Orchestral Manoeuvres in the Dark,
Sonic Youth,
Lucky Dragons,
Pole,
The Cramps,
A Certain Ratio,
Pet Shop Boys,
Yazoo,
Stetsasonic, Stetsasonic, Stetsasonic, Stetsasonic.
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.