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 Ivory Coast and from Mumbai.
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 1960 to 1971.
I'm losing my edge.
To all the kids in Bologna and Johannesburg.
I'm losing my edge to the art-school Mumbai 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the arpeggiator 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 Kings Of Tomorrow to the disco kids.
I played it at Trash.
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 E-Dancer. All the underground hits.
All Tears for Fears tracks. I heard you have a vinyl of every Kerri Chandler record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a theremin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a kango's stein massive 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?
The Kinks,
Moby Grape,
The Blues Magoos,
Wire,
Lebanon Hanover,
The Mighty Diamonds,
Metal Thangz,
Barrington Levy,
The United States of America,
Kevin Saunderson,
Tim Buckley,
The Misunderstood,
The Fire Engines,
Blancmange,
Fad Gadget,
Jacob Miller,
The Toasters,
The Red Krayola,
Tom Boy,
Rufus Thomas,
Kerri Chandler,
Be Bop Deluxe,
The Gap Band,
Sound Behaviour,
Soft Machine,
Derrick May,
Drive Like Jehu,
Prince Buster,
MDC,
DJ Style,
Erasure,
Quadrant,
The Cramps,
Sarah Menescal,
Camron Feat. Memphis Bleek And Beenie Seigel,
Nico,
Boogie Down Productions,
Harpers Bizarre,
Todd Terry,
Slick Rick,
Severed Heads,
Lou Reed & Metallica,
Captain Beefheart & His Magic Band,
Brick,
Pagans,
Mo-Dettes,
Maleditus Sound,
The Litter,
Sun City Girls,
Crime,
Robert Wyatt,
The Dave Clark Five,
Bob Dylan,
Pet Shop Boys,
The Men They Couldn't Hang,
Model 500,
Average White Band,
Arab on Radar,
Bush Tetras,
Girls At Our Best!,
Kaleidoscope,
The Searchers,
Half Japanese, Half Japanese, Half Japanese, Half Japanese.
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.