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 Singapore and from Stockholm.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1969 to 1971.
I'm losing my edge.
To all the kids in Columbus and Tehran.
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 synthesizer 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 Sandy B to the dance kids.
I played it at the Roxy.
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 John Foxx. All the underground hits.
All Section 25 tracks. I heard you have a vinyl of every Justin Hinds & The Dominoes record on German import.
I heard that you have a white label of every seminal grime 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 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Lightning Bolt record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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 Stooges,
The Velvet Underground,
Terrestrial Tones,
Cameo,
Sonny Sharrock,
Andrew Hill,
Sad Lovers and Giants,
Michelle Simonal,
Stiv Bators,
Bobby Byrd,
Sun Ra Arkestra,
Fatback Band,
Bill Near,
The Modern Lovers,
Masters at Work,
Ultravox,
Yellowson,
Sarah Menescal,
Jeru the Damaja,
Johnny Osbourne,
Surgeon,
Vainqueur,
Slave,
Minutemen,
A Flock of Seagulls,
Aural Exciters,
Archie Shepp,
Rhythm & Sound,
Minor Threat,
Deepchord,
FM Einheit,
EPMD,
Drive Like Jehu,
Throbbing Gristle,
the Germs,
Wire,
Skaos,
Red Lorry Yellow Lorry,
The Walker Brothers,
Angels of Light & Akron/Family,
The Fire Engines,
Matthew Halsall,
The Birthday Party,
The Gladiators,
Panda Bear,
Skriet,
Harmonia,
Marshall Jefferson,
Nick Fraelich,
New York Dolls,
Black Bananas,
Jesper Dahlback,
Marvin Gaye,
Alton Ellis,
Dark Day,
Brass Construction,
T.S.O.L.,
Charles Mingus,
Letta Mbulu,
Jacob Miller,
Eve St. Jones,
A Certain Ratio,
Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's, Ultramagnetic MC's.
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.