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 Slovenia and from Columbus.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Salvador and Mexico City.
I'm losing my edge to the art-school Houston 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the 808 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 Joe Smooth to the funk 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 Banda Bassotti. All the underground hits.
All X-102 tracks. I heard you have a vinyl of every Chrome record on German import.
I heard that you have a white label of every seminal jazz 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 an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Barbara Tucker record.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed,
The Dirtbombs,
X-Ray Spex,
Livin' Joy,
Outsiders,
Derrick Morgan,
Oppenheimer Analysis,
Saccharine Trust,
Al Stewart,
Scott Walker,
Trumans Water,
Johnny Clarke,
Glenn Branca,
Andrew Ashong & Theo Parrish,
Sparks,
Wire,
Swans,
Section 25,
The Kinks,
Skarface,
The J.B.'s,
One Last Wish,
Blake Baxter,
Kings Of Tomorrow,
Hasil Adkins,
Sister Nancy,
Yazoo,
The Gladiators,
Camberwell Now,
Gang Green,
The Music Machine,
Louis and Bebe Barron,
Lindisfarne,
Thompson Twins,
Michelle Simonal,
Amon Düül II,
Tears for Fears,
The Count Five,
Lou Reed & John Cale,
Drive Like Jehu,
Bootsy's Rubber Band,
The Grass Roots,
Basic Channel,
The Fortunes,
F. McDonald,
Zero Boys,
Piero Umiliani,
The Techniques,
Audionom,
James Chance & The Contortions,
Interpol,
Pharaoh Sanders and the Fire Engines,
Rahsaan Roland Kirk,
Orchestral Manoeuvres in the Dark,
Flash Fearless,
Max Romeo,
Gil Scott Heron,
Los Fastidios,
The Raincoats,
London Community Gospel Choir,
Fluxion, Fluxion, Fluxion, Fluxion.
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.