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 Austria and from Spokane.
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 1968 to 1979.
I'm losing my edge.
To all the kids in Portland and Jakarta.
I'm losing my edge to the art-school Manchester 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 güiro 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 Bauhaus to the electroclash 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 Moss Icon. All the underground hits.
All Main Source tracks. I heard you have a vinyl of every Parry Music 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 '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Hasil Adkins record.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wolf Eyes,
Popol Vuh,
Lucky Dragons,
Suicide,
The Mummies,
Flipper,
Shoche,
Traffic Nightmare,
Jandek,
LL Cool J,
Erasure,
Pete Rock & C.L. Smooth,
Lakeside,
Lalann,
Skriet,
David McCallum,
Cymande,
Andrew Ashong & Theo Parrish,
Lee Hazlewood,
Roger Hodgson,
Dorothy Ashby,
Amon Düül II,
Sad Lovers and Giants,
Scott Walker,
10cc,
Gil Scott-Heron and Jamie xx,
Grandmaster Flash,
The Standells,
The Slits,
Eric Copeland,
Theoretical Girls,
Pulsallama,
Rosa Yemen,
PIL,
Heavy D & The Boyz,
Accadde A,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Eve St. Jones,
Ten City,
John Holt,
Faust,
Slave,
The Doobie Brothers,
K-Klass,
Cluster,
DeepChord presents Echospace,
Basic Channel,
Funkadelic,
Pere Ubu,
The Alarm Clocks,
Stockholm Monsters,
UT,
Spandau Ballet,
The Slackers,
Joy Division,
The Red Krayola,
Art Ensemble Of Chicago,
Moss Icon,
Kevin Saunderson,
Hashim,
Ultramagnetic MC's,
Cameo, Cameo, Cameo, Cameo.
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.