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 Namibia and from Accra.
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 1964 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Shanghai.
I'm losing my edge to the art-school Salvador 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the arpeggiator sounds with much patience.
I was there when Michael McDonald 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 Kerrie Biddell to the punk 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 Jimmy McGriff. All the underground hits.
All Hashim tracks. I heard you have a vinyl of every The Barracudas 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 '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Aaron Thompson record.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Certain Ratio,
Altered Images,
Johnny Osbourne,
Boz Scaggs,
Bad Manners,
Grey Daturas,
Gil Scott-Heron and Jamie xx,
The Detroit Cobras,
Joe Smooth,
The Martian,
Rapeman,
Ossler,
Yellowson,
One Last Wish,
Iggy Pop,
Joey Negro,
In Retrospect,
Urselle,
UT,
The Toasters,
Grauzone,
The Blues Magoos,
The Raincoats,
Judy Mowatt,
Soulsonic Force,
New Order,
Patti Smith,
Hardrive,
Mars,
Röyhkä ja Rättö ja Lehtisalo,
The Stooges,
Sandy B,
Todd Rundgren,
Rowland S Howard / Lydia Lunch,
Marshall Jefferson,
Skaos,
Barclay James Harvest,
Charles Mingus,
The J.B.'s,
Infiniti,
Oneida,
Negative Approach,
Gregory Isaacs,
Bill Wells,
Banda Bassotti,
Boredoms,
The Zeros,
Bobby Byrd,
Lalann,
David Axelrod,
The Slits,
Theoretical Girls,
Grandmaster Flash and the Furious Five,
Orchestral Manoeuvres in the Dark,
Siglo XX,
Ten City,
LL Cool J,
Deepchord,
The Searchers,
Kas Product,
Unwound,
Nik Kershaw,
The United States of America, The United States of America, The United States of America, The United States of America.
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.