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 Iraq and from Stockholm.
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 1975.
I'm losing my edge.
To all the kids in Manchester and Jakarta.
I'm losing my edge to the art-school London 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 1978 at the first Visage practice in a loft in London.
I was working on the linndrum 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 Eyeless In Gaza to the punk 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 Negative Approach. All the underground hits.
All Notorious BIG live in Amsterdam tracks. I heard you have a vinyl of every the Sonics 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 sitar and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Jerry Gold Smith record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nico,
the Soft Cell,
The Slits,
Barrington Levy,
Magazine,
The Toasters,
Gang Starr,
Radiopuhelimet,
Aaron Thompson,
The Mojo Men,
Depeche Mode,
The West Coast Pop Art Experimental Band,
Pylon,
David McCallum,
Shuggie Otis,
Grandmaster Flash and the Furious Five,
Flamin' Groovies,
Agent Orange,
Donald Byrd,
Minor Threat,
Lonnie Liston Smith,
Jeff Lynne,
Delon & Dalcan,
Pete Rock & C.L. Smooth,
Drexciya,
Lou Christie,
R.M.O.,
Roger Hodgson,
Lucky Dragons,
Anakelly,
Camouflage,
Grey Daturas,
Sugar Minott,
Absolute Body Control,
Suicide,
Lou Reed & Metallica,
Leonard Cohen,
Liliput,
Barclay James Harvest,
The Pretty Things,
It's A Beautiful Day,
Rahsaan Roland Kirk,
Hoover,
Wings,
Crash Course in Science,
Soul II Soul,
Wire,
Liaisons Dangereuses,
Throbbing Gristle,
Drive Like Jehu,
Ultimate Spinach,
Bobby Sherman,
Neil Young,
Cecil Taylor,
Barbara Tucker,
Gary Puckett & The Union Gap,
Los Fastidios,
Heavy D & The Boyz,
CMW,
Sun Ra Arkestra,
Bootsy Collins,
In Retrospect, In Retrospect, In Retrospect, In Retrospect.
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.