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 Bahrain and from Salvador.
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 1976.
I'm losing my edge.
To all the kids in Mexico City and Copenhagen.
I'm losing my edge to the art-school Madrid 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 1984 at the first Arcadia practice in a loft in London.
I was working on the chamberlin 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 Harpers Bizarre to the rock kids.
I played it at the Spitz.
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 Sun Ra Arkestra. All the underground hits.
All Harry Pussy tracks. I heard you have a vinyl of every The Dave Clark Five record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Rhythim Is Rhythim record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Black Flag,
The Saints,
Roxy Music,
Trumans Water,
Roxette,
The Gap Band,
Moss Icon,
Wire,
Pete Rock & C.L. Smooth,
Flash Fearless,
Sällskapet,
Suicide,
The Leaves,
June Days,
Frankie Knuckles,
Country Joe & The Fish,
T.S.O.L.,
Depeche Mode,
The Gun Club,
The Chocolate Watch Band,
Pantaleimon,
Model 500,
Crispy Ambulance,
Rufus Thomas,
Pagans,
The Slackers,
Gil Scott Heron,
Crime,
Maleditus Sound,
Stiv Bators,
Cal Tjader,
Anthony Braxton,
Das Ding,
Susan Cadogan,
Nas,
The Residents,
Dr. Dre and Snoop Doggy Dog,
Amazonics,
John Cale,
Boredoms,
Infiniti,
Kerri Chandler,
Whodini,
John Lydon,
Radiohead,
Arthur Verocai,
Intrusion,
Television,
Harpers Bizarre,
Dawn Penn,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
X-102,
Silicon Teens,
Pole,
The United States of America,
Lightning Bolt,
The Monks,
Ralphi Rosario,
Skriet,
The Pretty Things,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.