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 Rwanda and from Tokyo.
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 1963 to 1978.
I'm losing my edge.
To all the kids in Mexico City and Mexico City.
I'm losing my edge to the art-school Stockholm 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 Invisible to the grime kids.
I played it at the Crocodile.
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 Matthew Halsall. All the underground hits.
All Second Layer tracks. I heard you have a vinyl of every Andrew Hill record on German import.
I heard that you have a white label of every seminal techno 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 an organ and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Selector Dub Narcotic record.
I hear that you and your band have sold your guitar and bought an oboe.
I hear that you and your band have sold your oboe and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cowsills,
Freddie Wadling,
Lakeside,
Kauko Röyhkä ja Narttu,
The Martian,
Alice Coltrane,
The Music Machine,
Glenn Branca,
X-101,
Avey Tare's Slasher Flicks,
Rites of Spring,
The Men They Couldn't Hang,
the Slits,
Don Cherry,
the Soft Cell,
The Fortunes,
Rosa Yemen,
Ponytail,
The Slackers,
Bobby Hutcherson,
London Community Gospel Choir,
Yazoo,
Grey Daturas,
Marcia Griffiths,
Rotary Connection,
Pantytec,
B.T. Express,
Davy DMX,
Lungfish,
Basic Channel,
The Mojo Men,
Lindisfarne,
Clear Light,
Junior Murvin,
Dead Boys,
Echospace,
Dr. Dre and Snoop Doggy Dog,
Joyce Sims,
Robert Görl,
John Foxx,
Scrapy,
The Names,
Underground Resistance,
DNA,
Pantaleimon,
Sarah Menescal,
DJ Sneak,
Motorama,
The Durutti Column,
Interpol,
The Slits,
Circle Jerks,
Sällskapet,
Fad Gadget,
Howard Jones,
Moebius,
Niagra,
Slick Rick,
The Index,
Jerry Gold Smith,
Pet Shop Boys,
Colin Newman, Colin Newman, Colin Newman, Colin Newman.
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.