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 Monaco and from Jakarta.
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 1967 to 1971.
I'm losing my edge.
To all the kids in Houston and New York.
I'm losing my edge to the art-school Woodstock 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 harpsichord sounds with much patience.
I was there when Lou Reed 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 Desert Stars to the punk 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 Echo & the Bunnymen. All the underground hits.
All The New Christs tracks. I heard you have a vinyl of every Animal Collective record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Jeff Lynne,
The Move,
Drexciya,
A Certain Ratio,
Visage,
Marshall Jefferson,
The Toasters,
Black Sheep,
Television,
Q and Not U,
Johnny Osbourne,
The Real Kids,
Maleditus Sound,
Junior Murvin,
Andrew Ashong & Theo Parrish,
Erykah Badu,
Zero Boys,
The Sound,
Lee Hazlewood,
Whodini,
Khruangbin,
U.S. Maple,
This Heat,
The Vogues,
Pagans,
The Electric Prunes,
Eddi Front,
The Names,
Maurizio,
B.T. Express,
Pantaleimon,
Procol Harum,
Vladislav Delay,
Wire,
Eric Dolphy,
Circle Jerks,
Pharaoh Sanders and the Fire Engines,
Adolescents,
Suicide,
Godley & Creme,
Tres Demented,
Roxette,
Bobbi Humphrey,
Drive Like Jehu,
Symarip,
KRS-One,
Lou Reed & Metallica,
The Cramps,
Bob Dylan,
John Holt,
The Smoke,
Depeche Mode,
Pere Ubu,
ABBA,
The Trojans,
The Invisible,
Gil Scott-Heron and Jamie xx,
The Dirtbombs,
Delta 5,
Gang Gang Dance,
Lightning Bolt,
Grandmaster Flash and the Furious Five,
The Durutti Column,
Frankie Knuckles, Frankie Knuckles, Frankie Knuckles, Frankie Knuckles.
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.