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 Korea North 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 1967 to 1970.
I'm losing my edge.
To all the kids in Delhi and Shanghai.
I'm losing my edge to the art-school Delhi 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 1979 at the first Second Layer practice in a loft in South 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 Lee Hazlewood to the dance 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 Infiniti. All the underground hits.
All Barry Ungar tracks. I heard you have a vinyl of every Dawn Penn record on German import.
I heard that you have a white label of every seminal dance 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 marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Monks record.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bad Manners,
Au Pairs,
Radiopuhelimet,
Marcia Griffiths,
Gang Green,
Talk Talk,
Bill Near,
Accadde A,
June of 44,
Camberwell Now,
Minor Threat,
Roxy Music,
R.M.O.,
Spandau Ballet,
Reuben Wilson,
Boz Scaggs,
Kas Product,
Howard Jones,
Smog,
Pantaleimon,
Skriet,
The Stooges,
Drexciya,
Khruangbin,
Connie Case,
Don Cherry,
Icehouse,
Pharoah Sanders,
The Walker Brothers,
Eden Ahbez,
Slave,
Scan 7,
Scott Walker,
the Swans,
Fugazi,
Harry Pussy,
Lower 48,
Intrusion,
Al Stewart,
Peter Gordon & Love of Life Orchestra,
Ultimate Spinach,
Pete Rock & C.L. Smooth,
Cybotron,
The Wake,
The Fall,
Young Marble Giants,
Vaughan Mason & Crew,
Pet Shop Boys,
The Pop Group,
Flash Fearless,
The Gap Band,
The Buckinghams,
Barbara Tucker,
Theoretical Girls,
The Smiths,
Barrington Levy,
Justin Hinds & The Dominoes,
Quadrant,
Moss Icon,
Joyce Sims,
Livin' Joy,
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.