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 Venezuela and from Sao Paulo.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1962 to 1974.
I'm losing my edge.
To all the kids in Copenhagen and Hong Kong.
I'm losing my edge to the art-school Tehran 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 organ 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 DJ Sneak to the funk kids.
I played it at the Crocodile.
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 Crash Course in Science. All the underground hits.
All The Golliwogs tracks. I heard you have a vinyl of every Marc Almond record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Remains record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Birthday Party,
The Human League,
Half Japanese,
The Cramps,
Albert Ayler,
Lungfish,
B.T. Express,
Infiniti,
the Normal,
The Wake,
Robert Hood,
Marcia Griffiths,
MDC,
the Soft Cell,
Kool G Rap & DJ Polo,
Davy DMX,
U.S. Maple,
Ohio Players,
Lou Reed & Metallica,
Lebanon Hanover,
Terrestrial Tones,
Kerri Chandler,
JFA,
Subhumans,
Country Teasers,
Sly & The Family Stone,
Cymande,
Dr. Dre and Snoop Doggy Dog,
Fluxion,
Lou Reed,
Pharaoh Sanders and the Fire Engines,
Agitation Free,
Neil Young & Crazy Horse,
Yusef Lateef,
Ossler,
Hasil Adkins,
Deutsch Amerikanische Freundschaft,
The Victims,
Television Personalities,
Nick Cave & The Bad Seeds,
Nico,
Amon Düül II,
Fort Wilson Riot,
Thinking Fellers Union Local 282,
Quantec,
Justin Hinds & The Dominoes,
Babytalk,
The Last Poets,
Red Lorry Yellow Lorry,
Audionom,
Scrapy,
The Sound,
Gregory Isaacs,
Soul II Soul,
Khruangbin,
Popol Vuh,
Matthew Halsall,
Pierre Henry,
Boogie Down Productions,
The Fortunes,
Susan Cadogan,
Wire, Wire, Wire, Wire.
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.