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 Albania and from Portland.
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 Sao Paulo and Delhi.
I'm losing my edge to the art-school Bremen 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 Wire practice in a loft in Watford.
I was working on the güiro sounds with much patience.
I was there when Michael McDonald 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 Liliput to the grunge kids.
I played it at the Astoria.
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 Curtis Mayfield. All the underground hits.
All JFA tracks. I heard you have a vinyl of every Lou Christie record on German import.
I heard that you have a white label of every seminal disco 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 an oboe and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a UT record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Birthday Party,
Little Man,
Aaron Thompson,
JFA,
Richard Hell and the Voidoids,
KRS-One,
The Busters,
Joey Negro,
Lalo Schifrin,
Laurel Aitken,
The United States of America,
Bobbi Humphrey,
Lower 48,
Peter & Gordon,
Babytalk,
Grauzone,
Pagans,
Bobby Hutcherson,
Gil Scott-Heron and Jamie xx,
This Heat,
Skarface,
Lebanon Hanover,
Soft Machine,
Reuben Wilson,
Neil Young,
Black Sheep,
Bizarre Inc.,
Flamin' Groovies,
Arab on Radar,
Bauhaus,
Kerrie Biddell,
Echo & the Bunnymen,
Ossler,
Barbara Tucker,
Dead Boys,
Harry Pussy,
Graham Central Station,
The Blues Magoos,
The Star Department,
The Royal Family And The Poor,
The Music Machine,
Hardrive,
Sandy B,
Jacques Brel,
Youth Brigade,
The Stooges,
Art Ensemble Of Chicago,
Section 25,
Kool Moe Dee,
Aural Exciters,
Fifty Foot Hose,
Vaughan Mason & Crew,
Hasil Adkins,
The Sisters of Mercy,
The Sound,
The Smiths,
Moss Icon,
Lou Christie,
The Gun Club,
Terrestrial Tones,
Isaac Hayes,
Marvin Gaye,
The West Coast Pop Art Experimental Band,
Davy DMX, Davy DMX, Davy DMX, Davy DMX.
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.