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 Grenada and from Bologna.
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 1976.
I'm losing my edge.
To all the kids in Philadelphia and Johannesburg.
I'm losing my edge to the art-school Edmonton 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 chamberlin 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 Urselle to the crunk 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 Ralphi Rosario. All the underground hits.
All Rosa Yemen tracks. I heard you have a vinyl of every Eurythmics 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 '60s cut and another box set from the '90s.
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 Sight & Sound record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Sonics,
The Leaves,
Howard Jones,
Mars,
The Peanut Butter Conspiracy,
Rod Modell,
Monolake,
Bauhaus,
Richard Hell and the Voidoids,
Audionom,
Dawn Penn,
Henry Cow,
Minny Pops,
JFA,
Faraquet,
The Blues Magoos,
Public Enemy,
Man Parrish,
Darondo,
The Real Kids,
Technova,
Larry & the Blue Notes,
The Moleskins,
Isaac Hayes,
Jesper Dahlbäck,
The Associates,
The Five Americans,
ABBA,
OOIOO,
Inner City,
Roxette,
Crispy Ambulance,
Crash Course in Science,
Avey Tare,
The Tremeloes,
Vladislav Delay,
Derrick Morgan,
Gang Green,
The Names,
These Immortal Souls,
Connie Case,
The Slackers,
Japan,
Matthew Halsall,
Johnny Clarke,
Loose Ends,
Swans,
Ultramagnetic MC's,
Arab on Radar,
Kevin Saunderson,
Cymande,
New Order,
Aaron Thompson,
Flamin' Groovies,
The Zeros,
Smog,
The Angels of Light,
Bang on a Can All-Stars,
Iggy Pop,
Joey Negro,
Young Marble Giants,
Ultravox, Ultravox, Ultravox, Ultravox.
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.