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 Korea North and from Manchester.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 Johannesburg and Houston.
I'm losing my edge to the art-school Jakarta 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the mellotron sounds with much patience.
I was there when Donald Fagen 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 Mr. Review to the disco 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 Boogie Down Productions. All the underground hits.
All Hardrive tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal disco 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 linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Harry Pussy record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bootsy's Rubber Band,
Half Japanese,
This Heat,
Audionom,
Aural Exciters,
Louis and Bebe Barron,
The Angels of Light,
Massinfluence,
Moss Icon,
Gang Green,
8 Eyed Spy,
Grauzone,
Scott Walker + Sunn O))),
Lee Hazlewood,
Country Joe & The Fish,
Ornette Coleman,
It's A Beautiful Day,
Sällskapet,
June of 44,
Patti Smith,
Quadrant,
Barry Ungar,
The Music Machine,
Tommy Roe,
Vainqueur,
Public Enemy,
Avey Tare's Slasher Flicks,
Sun Ra Arkestra,
Rakim,
Lou Reed & John Cale,
The J.B.'s,
The Barracudas,
Carl Craig,
Visionaries,LMNO, T- Love & Iriscience,
Marc Almond,
Deepchord,
Delon & Dalcan,
Theoretical Girls,
R.M.O.,
Peter and Kerry,
Sparks,
Warsaw,
Angels of Light & Akron/Family,
Bronski Beat,
Brick,
Godley & Creme,
Crime,
Hardrive,
kango's stein massive,
Dave Gahan,
Yellowson,
Surgeon,
Urselle,
The Grass Roots,
CMW,
D'Angelo,
a-ha,
Ultimate Spinach,
DJ Style,
Sixth Finger,
Fort Wilson Riot,
Fifty Foot Hose,
James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions, James Chance & The Contortions.
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.