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 Switzerland and from Bremen.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Lagos and Portland.
I'm losing my edge to the art-school Mexico City 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 sitar 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 New York Dolls to the grunge kids.
I played it at Trash.
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 K-Klass. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every Eli Mardock record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kevin Saunderson,
L. Decosne,
The Mighty Diamonds,
Glambeats Corp.,
Juan Atkins,
The Smoke,
The Fugs,
Eve St. Jones,
Zapp,
One Last Wish,
Todd Rundgren,
Liliput,
The Busters,
James Chance & The Contortions,
Röyhkä ja Rättö ja Lehtisalo,
ABC,
Be Bop Deluxe,
Minnie Riperton,
Simply Red,
Gang of Four,
Bronski Beat,
Faraquet,
Interpol,
Jacques Brel,
Kool Moe Dee,
Wally Richardson,
Idris Muhammad,
Roy Ayers,
Jeff Mills,
The Zeros,
Donny Hathaway,
David McCallum,
Schoolly D,
Bootsy's Rubber Band,
Warsaw,
DJ Style,
Pulsallama,
Joy Division,
Fat Boys,
David Bowie,
Los Fastidios,
Faust,
The Five Americans,
John Coltrane,
Anakelly,
Ash Ra Tempel,
Bang On A Can,
The Royal Family And The Poor,
Quando Quango,
Lou Reed,
Shuggie Otis,
Technova,
Cybotron,
Letta Mbulu,
X-101,
The Sound,
Oneida,
Throbbing Gristle,
Peter & Gordon,
Quantec, Quantec, Quantec, Quantec.
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.