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 Brazil and from Spokane.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1972.
I'm losing my edge.
To all the kids in Mumbai and Tokyo.
I'm losing my edge to the art-school Sao Paulo 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 Stereo Dub to the dance 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 Public Image Ltd.. All the underground hits.
All Au Pairs tracks. I heard you have a vinyl of every R.M.O. 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 '90s.
I hear you're buying a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Saccharine Trust record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
T.S.O.L.,
Marcia Griffiths,
Television,
David Axelrod,
Zapp,
Sly & The Family Stone,
Khruangbin,
K-Klass,
The Dave Clark Five,
The Royal Family And The Poor,
Gil Scott Heron,
In Retrospect,
Easy Going,
The Knickerbockers,
Black Moon,
The Motions,
The Selecter,
The Dead C,
Bill Near,
Louis and Bebe Barron,
The Gladiators,
Byron Stingily,
La Düsseldorf,
Gregory Isaacs,
Man Parrish,
James White and The Blacks,
Lightning Bolt,
Mad Mike,
Lafayette Afro Rock Band,
a-ha,
Banda Bassotti,
Neil Young,
Bang on a Can All-Stars,
The Beau Brummels,
Frankie Knuckles,
Michelle Simonal,
the Fania All-Stars,
Nico,
A Certain Ratio,
The Chocolate Watch Band,
Toni Rubio,
Interpol,
David Bowie,
Metal Thangz,
The Martian,
Pulsallama,
Electric Prunes,
The Standells,
Eurythmics,
Warsaw,
ABC,
Erasure,
The Sisters of Mercy,
Nick Fraelich,
Japan,
The Human League,
Aloha Tigers,
Drive Like Jehu,
Maurizio,
Alphaville,
Terrestrial Tones,
Colin Newman, Colin Newman, Colin Newman, Colin Newman.
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.