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 Switzerland and from Manila.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Beijing.
I'm losing my edge to the art-school Seoul 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 1984 at the first Arcadia practice in a loft in London.
I was working on the marimba 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 Barry Ungar to the grunge kids.
I played it at Trash.
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 Sisters of Mercy. All the underground hits.
All Gerry Rafferty tracks. I heard you have a vinyl of every Fela Kuti record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a chamberlin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Funky Four + One,
Joey Negro,
H. Thieme,
Con Funk Shun,
The Doobie Brothers,
Joensuu 1685,
Y Pants,
Brothers Johnson,
Lee Hazlewood,
Amon Düül II,
Barrington Levy,
Livin' Joy,
Camberwell Now,
Oppenheimer Analysis,
Bobby Byrd,
Man Parrish,
John Foxx,
MC5,
Lower 48,
Absolute Body Control,
Arab on Radar,
Q and Not U,
The Motions,
Country Teasers,
The Buckinghams,
Brick,
Lalo Schifrin,
Essential Logic,
Pantytec,
Bobbi Humphrey,
This Heat,
Swans,
Blancmange,
Public Image Ltd.,
Dead Boys,
Public Enemy,
Terrestrial Tones,
Selector Dub Narcotic,
Gary Puckett & The Union Gap,
Cluster,
Audionom,
The Dead C,
CMW,
Deadbeat,
Los Fastidios,
Lakeside,
Youth Brigade,
The Monks,
Deepchord,
Moby Grape,
Alphaville,
Urselle,
Magma,
Reuben Wilson,
Janne Schatter,
Inner City,
The Techniques,
Davy DMX,
Pylon,
Roy Ayers Ubiquity,
Kings Of Tomorrow,
Visage, Visage, Visage, Visage.
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.