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 Sri Lanka and from Halifax.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1976.
I'm losing my edge.
To all the kids in London and New York.
I'm losing my edge to the art-school Glasgow 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the güiro sounds with much patience.
I was there when David Bowie 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 West Coast Pop Art Experimental Band to the rock 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 Siglo XX. All the underground hits.
All DJ Sneak tracks. I heard you have a vinyl of every Fugazi record on German import.
I heard that you have a white label of every seminal funk 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 mellotron and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Strawberry Alarm Clock,
Lungfish,
Archie Shepp,
Rekid,
Pulsallama,
Johnny Clarke,
Malaria!,
The Star Department,
Ultramagnetic MC's,
Brass Construction,
Spandau Ballet,
Major Organ And The Adding Machine,
The Birthday Party,
Scrapy,
Ralphi Rosario,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Excepter,
Audionom,
Bronski Beat,
Brothers Johnson,
Public Enemy,
Boredoms,
The Dave Clark Five,
Whodini,
Laurel Aitken,
The Smiths,
Barbara Tucker,
The Alarm Clocks,
Motorama,
The Smoke,
Faraquet,
Heavy D & The Boyz,
Rakim,
Tubeway Army,
Richard Hell and the Voidoids,
Fat Boys,
Gil Scott Heron,
Sugar Minott,
Ultra Naté,
X-Ray Spex,
the Association,
Soul II Soul,
X-102,
Joensuu 1685,
Harmonia,
Slick Rick,
Alphaville,
Alison Limerick,
The Real Kids,
MC5,
Mad Mike,
Magazine,
The Moody Blues,
ABBA,
Johnny Osbourne,
This Heat,
David Bowie,
The Cosmic Jokers,
Inner City,
The Gories,
James Chance & The Contortions,
Pharoah Sanders,
Brand Nubian,
Bizarre Inc., Bizarre Inc., Bizarre Inc., Bizarre Inc..
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.