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 Panama and from Tokyo.
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 1974.
I'm losing my edge.
To all the kids in Bremen and Johannesburg.
I'm losing my edge to the art-school Delhi 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 synthesizer 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 Ossler to the disco 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 Sister Nancy. All the underground hits.
All The Gap Band tracks. I heard you have a vinyl of every Alton Ellis record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Radiohead record.
I hear that you and your band have sold your synthesizer and bought a snare.
I hear that you and your band have sold your snare and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Andrew Ashong & Theo Parrish,
Röyhkä ja Rättö ja Lehtisalo,
Fear,
Camron Feat. Memphis Bleek And Beenie Seigel,
Arthur Verocai,
Art Ensemble Of Chicago,
Kurtis Blow,
Kenny Larkin,
Cybotron,
The Move,
Pharoah Sanders,
Notorious BIG live in Amsterdam,
The Names,
The Doors,
Grandmaster Flash and the Furious Five,
Oneida,
The Cowsills,
New York Dolls,
Cymande,
Skriet,
Dawn Penn,
Janne Schatter,
Anakelly,
Sister Nancy,
Gang Starr,
Jeff Lynne,
8 Eyed Spy,
Suburban Knight,
Roxette,
DeepChord presents Echospace,
Groovy Waters,
Throbbing Gristle,
Jimmy McGriff,
Dark Day,
Vladislav Delay,
Nick Cave & The Bad Seeds,
Matthew Halsall,
The Detroit Cobras,
New Age Steppers,
The Techniques,
Avey Tare's Slasher Flicks,
Andrew Hill,
Technova,
Ituana,
The Gap Band,
Fugazi,
Manfred Mann's Earth Band,
The Music Machine,
Alison Limerick,
Idris Muhammad,
Sound Behaviour,
Stiv Bators,
Sällskapet,
Graham Central Station,
U.S. Maple,
The Offenders,
The Fugs,
Dorothy Ashby,
Roger Hodgson,
Bootsy Collins,
Circle Jerks,
Liaisons Dangereuses,
Lalann, Lalann, Lalann, Lalann.
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.