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 Kazakhstan and from Lille.
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 1967 to 1975.
I'm losing my edge.
To all the kids in Lyon and Philadelphia.
I'm losing my edge to the art-school Copenhagen 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the chamberlin sounds with much patience.
I was there when David Bowie 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 Mantronix to the rap 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 Black Flag. All the underground hits.
All Jerry Gold Smith tracks. I heard you have a vinyl of every Grandmaster Flash record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Pere Ubu record.
I hear that you and your band have sold your rhodes and bought a marimba.
I hear that you and your band have sold your marimba and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Be Bop Deluxe,
Gil Scott-Heron & Brian Jackson,
Mars,
Jesper Dahlback,
Flamin' Groovies,
Notorious BIG live in Amsterdam,
Bootsy Collins,
Albert Ayler,
Black Moon,
Slick Rick,
Charles Mingus,
Visionaries,LMNO, T- Love & Iriscience,
Joyce Sims,
Andrew Hill,
Interpol,
Warsaw,
the Slits,
Heavy D & The Boyz,
Joey Negro,
Anakelly,
Delta 5,
Simply Red,
Aswad,
Suburban Knight,
The Gun Club,
Neu!,
Derrick Morgan,
Avey Tare's Slasher Flicks,
Sandy B,
John Coltrane,
Kayak,
The Doobie Brothers,
Brass Construction,
Larry & the Blue Notes,
Ituana,
Urselle,
Public Image Ltd.,
Sexual Harrassment,
Spandau Ballet,
Girls At Our Best!,
Rahsaan Roland Kirk,
Strawberry Alarm Clock,
Parry Music,
Panda Bear,
Fifty Foot Hose,
Andrew Ashong & Theo Parrish,
Agent Orange,
Freddie Wadling,
Bang on a Can All-Stars,
Susan Cadogan,
Mr. Review,
The Associates,
Jeru the Damaja,
Reagan Youth,
Neil Young,
Anthony Braxton,
Clear Light,
UT,
Eve St. Jones,
Ultravox,
Byron Stingily,
Cluster,
Marine Girls,
T. Rex,
Rufus Thomas, Rufus Thomas, Rufus Thomas, Rufus Thomas.
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.