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 Samoa and from New York.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Beijing and Shanghai.
I'm losing my edge to the art-school Salvador 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the 808 sounds with much patience.
I was there when Captain Beefheart 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 Warren Ellis to the rap kids.
I played it at the Spitz.
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 Aloha Tigers. All the underground hits.
All Sparks tracks. I heard you have a vinyl of every New York Dolls 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 '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a The Standells record.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Trojans,
Black Sheep,
Easy Going,
Wally Richardson,
Dawn Penn,
Chrome,
Pulsallama,
Johnny Osbourne,
David McCallum,
Magazine,
La Düsseldorf,
Tres Demented,
X-101,
The Gap Band,
Tropical Tobacco,
Liaisons Dangereuses,
The Raincoats,
The Velvet Underground,
Wire,
Jesper Dahlback,
Mark Hollis,
Thompson Twins,
Oppenheimer Analysis,
Ultra Naté,
Rhythm & Sound,
Au Pairs,
Pylon,
Pharaoh Sanders and the Fire Engines,
Rotary Connection,
Japan,
The Sound,
Basic Channel,
The Evens,
The Motions,
LL Cool J,
Red Lorry Yellow Lorry,
Scott Walker,
The Blues Magoos,
Ultravox,
Lightning Bolt,
Lindisfarne,
Isaac Hayes,
The Modern Lovers,
Cymande,
X-Ray Spex,
Youth Brigade,
Sonic Youth,
Joe Finger,
David Axelrod,
Spoonie Gee,
T.S.O.L.,
Monolake,
Camouflage,
Model 500,
Fluxion,
Parry Music,
Mandrill,
The Monochrome Set,
Yusef Lateef,
K-Klass,
The Shadows of Knight,
The Fall,
Vladislav Delay,
Organ, Organ, Organ, Organ.
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.