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 Niger and from Philadelphia.
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 1974.
I'm losing my edge.
To all the kids in Tokyo and London.
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 at the first Suicide practice in a loft in New York.
I was working on the theremin sounds with much patience.
I was there when Holger Czukay 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 Fear to the grime kids.
I played it at Cafe Wha.
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 Scrapy. All the underground hits.
All The Trojans tracks. I heard you have a vinyl of every the Slits record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a New York Dolls record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Newcleus,
Mad Mike,
Todd Terry,
Mandrill,
The Tremeloes,
Bronski Beat,
Deepchord,
Rosa Yemen,
Groovy Waters,
Blossom Toes,
Massinfluence,
Joe Finger,
Graham Central Station,
Cluster,
Barbara Tucker,
E-Dancer,
Tom Boy,
Soul II Soul,
the Normal,
Saccharine Trust,
Heavy D & The Boyz,
The Barracudas,
Jacob Miller,
Strawberry Alarm Clock,
Gary Puckett & The Union Gap,
Mantronix,
Aloha Tigers,
the Sonics,
Bang On A Can,
DJ Style,
Anthony Braxton,
Eric Copeland,
Dual Sessions,
Gil Scott Heron,
The Selecter,
Jeff Mills,
Maurizio,
Pierre Henry,
Rekid,
Alison Limerick,
John Lydon,
A Certain Ratio,
Fifty Foot Hose,
Masters at Work,
Bobbi Humphrey,
New Age Steppers,
Roxette,
June of 44,
Terry Callier,
Bill Wells,
The Knickerbockers,
Depeche Mode,
Monolake,
Roxy Music,
Gerry Rafferty,
Barrington Levy,
Minnie Riperton,
Gian Franco Pienzio,
Colin Newman,
Juan Atkins,
Blake Baxter,
Joyce Sims,
Toni Rubio,
Crime, Crime, Crime, Crime.
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.