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 Liberia and from Jakarta.
But I was there.
I was there in 1979.
I was there at the first Josef K show in Edinburgh.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Spokane and Hong Kong.
I'm losing my edge to the art-school Winnipeg 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 snare 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 Cheater Slicks to the electroclash kids.
I played it at Cafe Wha.
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 Japan. All the underground hits.
All Sonny Sharrock tracks. I heard you have a vinyl of every N.O.R.E. Featuring Pharrell record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Pulsallama record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spoonie Gee,
James Chance & The Contortions,
Ludus,
The Fire Engines,
The Blackbyrds,
Motorama,
The Gun Club,
Lebanon Hanover,
KRS-One,
Strawberry Alarm Clock,
Easy Going,
Nick Cave & The Bad Seeds,
Malaria!,
Echo & the Bunnymen,
Youth Brigade,
Saccharine Trust,
Bobby Sherman,
Tubeway Army,
Sun City Girls,
The Monochrome Set,
Soul II Soul,
Gian Franco Pienzio,
The Music Machine,
Matthew Bourne,
Parry Music,
Carl Craig,
The Doors,
Scott Walker,
X-101,
Hoover,
MC5,
Minnie Riperton,
Das Ding,
Con Funk Shun,
cv313,
The Buckinghams,
Lou Christie,
Boredoms,
Brand Nubian,
Magazine,
The Pop Group,
Robert Wyatt,
Peter & Gordon,
Lakeside,
L. Decosne,
The Last Poets,
June Days,
The Remains,
Sun Ra Arkestra,
Tommy Roe,
Johnny Clarke,
Hardrive,
Anakelly,
Public Image Ltd.,
The Techniques,
Marcia Griffiths,
Surgeon,
Byron Stingily,
OOIOO,
Lightning Bolt,
Eric B and Rakim,
Fatback Band,
Althea and Donna,
Stetsasonic,
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.