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 Nigeria 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 1966 to 1978.
I'm losing my edge.
To all the kids in Calgary and Salvador.
I'm losing my edge to the art-school Spokane 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 chamberlin sounds with much patience.
I was there when Robert Palmer 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 Harry Pussy to the techno kids.
I played it at the Hacienda.
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 Arab on Radar. All the underground hits.
All Bill Near tracks. I heard you have a vinyl of every Ludus 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 '60s cut and another box set from the '80s.
I hear you're buying a rhodes and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siglo XX,
The Alarm Clocks,
The Fire Engines,
Alton Ellis,
Silicon Teens,
Fluxion,
The Monochrome Set,
Laurel Aitken,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Rakim,
Scratch Acid,
Fugazi,
Marc Almond,
James White and The Blacks,
Sandy B,
New York Dolls,
Juan Atkins,
U.S. Maple,
Eve St. Jones,
Letta Mbulu,
Alphaville,
Unrelated Segments,
Ohio Players,
Black Flag,
Rekid,
Eli Mardock,
Main Source,
the Bar-Kays,
Albert Ayler,
Matthew Halsall,
The Dead C,
Jandek,
Todd Rundgren,
The Sonics,
The Electric Prunes,
Smog,
World's Most,
Banda Bassotti,
Aaron Thompson,
The West Coast Pop Art Experimental Band,
Flipper,
Joyce Sims,
Ultramagnetic MC's,
Soul Sonic Force,
Robert Wyatt,
Crime,
Hoover,
Hasil Adkins,
Boogie Down Productions,
Oneida,
Jeff Mills,
Quantec,
Blancmange,
Godley & Creme,
Marine Girls,
Iggy Pop,
Fela Kuti,
The New Christs,
Sister Nancy, Sister Nancy, Sister Nancy, Sister Nancy.
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.