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 Trinidad & Tobago and from Paris.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Lille and Jakarta.
I'm losing my edge to the art-school Winnipeg 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the snare sounds with much patience.
I was there when Captain Beefheart 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 Pole to the jazz 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 Boredoms. All the underground hits.
All Barrington Levy tracks. I heard you have a vinyl of every Bauhaus 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 '80s cut and another box set from the '80s.
I hear you're buying an organ and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Kool G Rap & DJ Polo,
Scientists,
Josef K,
Goldenarms,
Howard Jones,
Kenny Larkin,
Jeff Lynne,
Gil Scott-Heron & Brian Jackson,
Funkadelic,
Crispy Ambulance,
Crash Course in Science,
Alton Ellis,
Byron Stingily,
Gang Starr,
Chris & Cosey,
Mary Jane Girls,
Stockholm Monsters,
The J.B.'s,
Barclay James Harvest,
Avey Tare's Slasher Flicks,
Andrew Ashong & Theo Parrish,
Swans,
Aural Exciters,
Half Japanese,
Audionom,
Fluxion,
Lindisfarne,
DJ Style,
X-102,
John Holt,
The Mummies,
Pantaleimon,
The Gun Club,
Lou Reed,
These Immortal Souls,
Morten Harket,
The Angels of Light,
This Heat,
X-Ray Spex,
The Fall,
The Leaves,
Bang on a Can All-Stars,
Notorious Big And Bone Thugs,
Davy DMX,
Robert Wyatt,
Blossom Toes,
Soul II Soul,
Derrick Morgan,
Lyres,
Rowland S Howard / Lydia Lunch,
Roy Ayers Ubiquity,
Wings,
Radiopuhelimet,
Second Layer,
Bootsy Collins,
the Association,
Severed Heads,
Camron Feat. Memphis Bleek And Beenie Seigel,
Gian Franco Pienzio,
the Swans,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.