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 Serbia and from Portland.
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 1970.
I'm losing my edge.
To all the kids in Portland and Manchester.
I'm losing my edge to the art-school Glasgow 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 1984 at the first Arcadia practice in a loft in London.
I was working on the organ 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 Unrelated Segments to the grime kids.
I played it at CBGB's.
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 Donny Hathaway. All the underground hits.
All The Gun Club tracks. I heard you have a vinyl of every The Smoke 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 '50s cut and another box set from the '70s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Skatalites record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Red Lorry Yellow Lorry,
U.S. Maple,
Henry Cow,
Lee Hazlewood,
Prince Buster,
Adolescents,
Godley & Creme,
The West Coast Pop Art Experimental Band,
Lou Reed & John Cale,
Maleditus Sound,
Joy Division,
Rakim,
Jawbox,
Notorious Big And Bone Thugs,
The Smoke,
Mary Jane Girls,
The Smiths,
Pylon,
The Toasters,
Tomorrow,
Loose Ends,
Black Pus,
The Trojans,
PIL,
This Heat,
the Swans,
Jeff Mills,
Siglo XX,
Minor Threat,
Pete Rock & C.L. Smooth,
Half Japanese,
Brothers Johnson,
Whodini,
Rosa Yemen,
Moss Icon,
Flamin' Groovies,
Barbara Tucker,
Warren Ellis,
Scrapy,
Q65,
Kas Product,
The Detroit Cobras,
The Divine Comedy,
Erasure,
Brass Construction,
The Angels of Light,
Suicide,
Spandau Ballet,
The Five Americans,
Letta Mbulu,
The Peanut Butter Conspiracy,
Tubeway Army,
Roy Ayers Ubiquity,
Thompson Twins,
Scientists,
The Jesus and Mary Chain,
The Gladiators,
Shuggie Otis,
Gang Green,
Kurtis Blow,
The New Christs,
Electric Light Orchestra,
Fatback Band,
Porter Ricks,
The Sonics, The Sonics, The Sonics, The Sonics.
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.