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 Slovenia and from Jakarta.
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 1961 to 1970.
I'm losing my edge.
To all the kids in Taipei and Salvador.
I'm losing my edge to the art-school Philadelphia 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 arpeggiator sounds with much patience.
I was there when Lou Reed 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 Aaron Thompson to the punk kids.
I played it at the Roxy.
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 Trumans Water. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every The Slits 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 '50s cut and another box set from the '70s.
I hear you're buying a güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Sunsets and Hearts record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Slave,
X-102,
the Slits,
Aaron Thompson,
Pierre Henry,
Brass Construction,
Stiv Bators,
Eurythmics,
Easy Going,
Piero Umiliani,
The Five Americans,
The Smiths,
The Barracudas,
Camron Feat. Memphis Bleek And Beenie Seigel,
Laurel Aitken,
Lee Hazlewood,
The Beau Brummels,
Avey Tare's Slasher Flicks,
Gichy Dan,
Toni Rubio,
Rufus Thomas,
The Slackers,
Das Ding,
Grandmaster Flash,
Steve Hackett,
The Detroit Cobras,
Dark Day,
Matthew Halsall,
Marc Romboy vs. Booka Shade,
Scientists,
Sällskapet,
Camron Feat. Jay Z And Juelz,
Michelle Simonal,
Joensuu 1685,
10cc,
Vainqueur,
The Gories,
Delon & Dalcan,
Von Mondo,
Black Sheep,
X-Ray Spex,
Darondo,
Peter & Gordon,
Gang of Four,
Derrick Morgan,
Echospace,
Gian Franco Pienzio,
Don Cherry,
Sonic Youth,
The Happenings,
Black Moon,
Motorama,
Robert Görl,
Yaz,
Wings,
Bill Wells,
Interpol,
Gastr Del Sol,
Aural Exciters,
The Dave Clark Five,
Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck, Jesper Dahlbäck.
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.