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 Marshall Islands and from Manila.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Manchester and Columbus.
I'm losing my edge to the art-school Beijing 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 1978 at the first Visage practice in a loft in London.
I was working on the oboe 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 LL Cool J to the electroclash 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 The Young Rascals. All the underground hits.
All Negative Approach tracks. I heard you have a vinyl of every Guru Guru record on German import.
I heard that you have a white label of every seminal crunk 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 güiro and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Urselle record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sly & The Family Stone,
Arcadia,
Justin Hinds & The Dominoes,
DNA,
Bobby Byrd,
Ajijia Myrayebe,
The Selecter,
Lou Reed,
A Certain Ratio,
Maurizio,
Babytalk,
Black Flag,
Patti Smith,
Funkadelic,
Kool Moe Dee,
The United States of America,
Sparks,
Yellowson,
Outsiders,
Barclay James Harvest,
New York Dolls,
Intrusion,
The Blackbyrds,
the Bar-Kays,
Röyhkä ja Rättö ja Lehtisalo,
Clear Light,
Mission of Burma,
Cybotron,
Skriet,
Albert Ayler,
The Evens,
Ash Ra Tempel,
Circle Jerks,
Aswad,
Grey Daturas,
Fort Wilson Riot,
cv313,
The Slackers,
8 Eyed Spy,
Hardrive,
The Mummies,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Pete Rock & C.L. Smooth,
Tears for Fears,
Sun City Girls,
Richard Hell and the Voidoids,
the Normal,
kango's stein massive,
Art Ensemble Of Chicago,
T. Rex,
The Fortunes,
Grandmaster Flash and the Furious Five,
Gong,
Pulsallama,
The Mighty Diamonds,
The West Coast Pop Art Experimental Band,
Black Sheep,
The Invisible,
Byron Stingily,
Arab on Radar, Arab on Radar, Arab on Radar, Arab on Radar.
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.