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 Dominican Republic and from Halifax.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1970.
I'm losing my edge.
To all the kids in Taipei and Madrid.
I'm losing my edge to the art-school Spokane 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 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 Depeche Mode to the crunk 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 June Days. All the underground hits.
All Major Organ And The Adding Machine tracks. I heard you have a vinyl of every Monks 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 arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Doors record.
I hear that you and your band have sold your spring reverb and bought a rhodes.
I hear that you and your band have sold your rhodes 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?
Anthony Braxton,
Kaleidoscope,
the Sonics,
T.S.O.L.,
John Lydon,
Minnie Riperton,
Blossom Toes,
The Tremeloes,
X-Ray Spex,
Camberwell Now,
FM Einheit,
Tommy Roe,
Y Pants,
The Knickerbockers,
Mr. Review,
Dorothy Ashby,
The Cramps,
Arab on Radar,
China Crisis,
The Sisters of Mercy,
Sight & Sound,
The Moody Blues,
Outsiders,
Sly & The Family Stone,
Scott Walker,
Deadbeat,
Ash Ra Tempel,
Sad Lovers and Giants,
Soul II Soul,
Qualms,
Nirvana,
Kool Moe Dee,
Cybotron,
Marshall Jefferson,
48th St. Collective,
Robert Hood,
Crime,
Althea and Donna,
Severed Heads,
Maurizio,
Liaisons Dangereuses,
Ice-T,
The J.B.'s,
The West Coast Pop Art Experimental Band,
Wally Richardson,
Sixth Finger,
Clear Light,
Cymande,
Easy Going,
Byron Stingily,
Ludus,
Camouflage,
Funky Four + One,
Johnny Osbourne,
Robert Wyatt,
Scan 7,
Jacques Brel,
The Names,
June of 44,
Erasure,
K-Klass, K-Klass, K-Klass, K-Klass.
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.