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 Vietnam and from Tehran.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1971.
I'm losing my edge.
To all the kids in Tehran and Woodstock.
I'm losing my edge to the art-school Taipei 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 güiro sounds with much patience.
I was there when Donald Fagen 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 Newcleus to the electroclash kids.
I played it at the 40 Watt.
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 Boredoms. All the underground hits.
All Kings Of Tomorrow tracks. I heard you have a vinyl of every Bill Wells record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Barry Ungar,
Anakelly,
The Saints,
Gregory Isaacs,
The Sound,
Major Organ And The Adding Machine,
Lonnie Liston Smith,
Johnny Osbourne,
Sugar Minott,
Janne Schatter,
The Gladiators,
Spandau Ballet,
Black Flag,
James Chance & The Contortions,
Lizzy Mercier Descloux,
cv313,
Essential Logic,
Young Marble Giants,
Organ,
Joensuu 1685,
Manfred Mann's Earth Band,
Scion,
Scientists,
Los Fastidios,
Circle Jerks,
8 Eyed Spy,
Swans,
The Five Americans,
Ronan,
Average White Band,
the Swans,
Bobby Hutcherson,
Andrew Ashong & Theo Parrish,
The Fugs,
Subhumans,
Albert Ayler,
Liliput,
Neil Young & Crazy Horse,
Mantronix,
The Royal Family And The Poor,
Cecil Taylor,
Davy DMX,
Mad Mike,
Peter and Kerry,
The Busters,
Bang On A Can,
Faust,
Nick Fraelich,
Con Funk Shun,
Deutsch Amerikanische Freundschaft,
The Moody Blues,
Wolf Eyes,
Soul II Soul,
R.M.O.,
The Associates,
The Moleskins,
Boredoms,
Ultra Naté,
The New Christs,
Black Pus,
Joey Negro,
Lower 48,
Audionom,
The Smiths,
Roxette, Roxette, Roxette, Roxette.
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.