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 United Kingdom and from Portland.
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 1960 to 1979.
I'm losing my edge.
To all the kids in Accra and Bremen.
I'm losing my edge to the art-school London 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the guitar sounds with much patience.
I was there when Tom Verlaine 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 Moby Grape to the electroclash kids.
I played it at the Troubador.
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 Mr. Review. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every Hashim record on German import.
I heard that you have a white label of every seminal rock 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 harpsichord and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Smoke record.
I hear that you and your band have sold your mellotron and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Frankie Knuckles,
Little Man,
Delta 5,
Porter Ricks,
Marine Girls,
The New Christs,
Lee Hazlewood,
Rotary Connection,
Warsaw,
Icehouse,
Public Image Ltd.,
Oppenheimer Analysis,
Letta Mbulu,
Visage,
Bush Tetras,
Livin' Joy,
Alice Coltrane,
Grandmaster Flash,
Dual Sessions,
Cymande,
Chrome,
Sunsets and Hearts,
Yaz,
Nick Cave & The Bad Seeds,
Eric Copeland,
Tommy Roe,
Eve St. Jones,
Maleditus Sound,
Lakeside,
The Blackbyrds,
Sällskapet,
Zapp,
Howard Jones,
Dennis Brown,
Bobby Womack,
Basic Channel,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Cramps,
DNA,
Black Pus,
The Slits,
Gang Starr,
Man Eating Sloth,
Blossom Toes,
Terror Squad Feat. Camron,
The Pop Group,
Sonny Sharrock,
Vladislav Delay,
Marc Almond,
The Raincoats,
The Remains,
Masters at Work,
The Mojo Men,
The Black Dice,
Lebanon Hanover,
Roxy Music,
Barbara Tucker,
The Selecter,
Cluster,
Country Joe & The Fish,
Model 500,
The Red Krayola,
Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith, Lonnie Liston Smith.
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.