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 Barbados and from Manchester.
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 Milan and Winnipeg.
I'm losing my edge to the art-school Portland 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 spring reverb 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 The Seeds to the electroclash kids.
I played it at the Astoria.
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 The Happenings. All the underground hits.
All Faraquet tracks. I heard you have a vinyl of every Kauko Röyhkä ja Narttu 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 '50s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a a-ha record.
I hear that you and your band have sold your rhodes and bought a 808.
I hear that you and your band have sold your 808 and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Section 25,
Donald Byrd,
Bill Near,
Maleditus Sound,
Glambeats Corp.,
Amazonics,
The Cure,
Soul II Soul,
Electric Light Orchestra,
Kings Of Tomorrow,
Marc Romboy vs. Booka Shade,
Swans,
Fad Gadget,
The Alarm Clocks,
Japan,
Von Mondo,
Bob Dylan,
Don Cherry,
Dorothy Ashby,
John Foxx,
The Cowsills,
Man Eating Sloth,
Roy Ayers,
Gang Green,
Crispy Ambulance,
Jeff Lynne,
Eric B and Rakim,
Drive Like Jehu,
Lalann,
Ituana,
Mad Mike,
Wally Richardson,
Loose Ends,
DJ Style,
The Mummies,
James Chance & The Contortions,
Zapp,
Josef K,
Pulsallama,
La Düsseldorf,
Trumans Water,
Röyhkä ja Rättö ja Lehtisalo,
The Monochrome Set,
the Soft Cell,
Henry Cow,
Grandmaster Flash and the Furious Five,
Shoche,
Ohio Players,
Flash Fearless,
Theoretical Girls,
Yusef Lateef,
Orchestral Manoeuvres in the Dark,
The Dead C,
This Heat,
Fatback Band,
Deakin,
Quadrant,
Amon Düül II,
Nas,
The Martian, The Martian, The Martian, The Martian.
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.