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 Slovenia and from Jakarta.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Philadelphia and Paris.
I'm losing my edge to the art-school Seoul 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 1976 at the first Buzzcocks practice in a loft in Bolton.
I was working on the snare sounds with much patience.
I was there when Robert Palmer 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 Terror Squad Feat. Camron to the grunge kids.
I played it at the Crocodile.
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 The Residents. All the underground hits.
All Roger Hodgson tracks. I heard you have a vinyl of every The Standells 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 '50s cut and another box set from the '80s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Alarm Clocks record.
I hear that you and your band have sold your sitar and bought a marimba.
I hear that you and your band have sold your marimba and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marshall Jefferson,
Ralphi Rosario,
Minor Threat,
Joensuu 1685,
Cymande,
Mad Mike,
Jandek,
Saccharine Trust,
Gang Green,
The Saints,
John Cale,
Parry Music,
Drive Like Jehu,
The Sonics,
Gabor Szabo,
DNA,
Sam Rivers,
Drexciya,
Franke,
Ludus,
Blancmange,
June Days,
Janne Schatter,
Wasted Youth,
Big Daddy Kane,
Agent Orange,
Massinfluence,
Section 25,
The West Coast Pop Art Experimental Band,
Max Romeo,
Nick Cave & The Bad Seeds,
Oneida,
The Buckinghams,
Bootsy's Rubber Band,
Buzzcocks,
Sonny Sharrock,
Das Ding,
Oblivians,
Kerri Chandler,
The Alarm Clocks,
Fugazi,
Technova,
Pylon,
Bang on a Can All-Stars,
Glambeats Corp.,
the Association,
Sister Nancy,
Ituana,
Gil Scott-Heron and Jamie xx,
Deakin,
Angry Samoans,
The Smoke,
Oppenheimer Analysis,
Be Bop Deluxe,
Zero Boys,
Avey Tare & Kría Brekkan,
The Smiths,
ABBA,
The Cramps,
Country Teasers,
Simply Red,
Marine Girls,
Jesper Dahlback, Jesper Dahlback, Jesper Dahlback, Jesper Dahlback.
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.