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 Bolivia and from Lyon.
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 1966 to 1971.
I'm losing my edge.
To all the kids in Bremen and Copenhagen.
I'm losing my edge to the art-school Hong Kong 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the snare 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 The Tremeloes to the jazz kids.
I played it at the Troubador.
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 Darondo. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every Lou Reed & Metallica record on German import.
I heard that you have a white label of every seminal punk 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 a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat 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?
Arthur Verocai,
Boogie Down Productions,
The Birthday Party,
Jeff Lynne,
Teenage Jesus and the Jerks,
Dennis Brown,
Model 500,
The Offenders,
Bang on a Can All-Stars,
Be Bop Deluxe,
The Young Rascals,
Sly & The Family Stone,
David McCallum,
Sunsets and Hearts,
Crooked Eye,
The Leaves,
The Doobie Brothers,
Ohio Players,
The Mojo Men,
Altered Images,
The Techniques,
Franke,
Kauko Röyhkä ja Narttu,
Minny Pops,
Bronski Beat,
Moebius,
The Real Kids,
The Busters,
Pete Rock & C.L. Smooth,
Visage,
The Smiths,
Warsaw,
The Raincoats,
Godley & Creme,
Matthew Bourne,
Laurel Aitken,
Scion,
Groovy Waters,
Subhumans,
Brass Construction,
Thompson Twins,
The Cramps,
Nirvana,
Ituana,
Arcadia,
Quando Quango,
Surgeon,
The Human League,
Camouflage,
Ponytail,
Darondo,
Sonny Sharrock,
Todd Rundgren,
The Gories,
The Motions,
Delon & Dalcan,
The Alarm Clocks,
Black Pus,
the Bar-Kays,
Dr. Dre and Snoop Doggy Dog,
Crispian St. Peters,
Reuben Wilson, Reuben Wilson, Reuben Wilson, Reuben Wilson.
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.