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 Switzerland and from Houston.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Mexico City and Jakarta.
I'm losing my edge to the art-school Jakarta 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 spring reverb sounds with much patience.
I was there when Michael McDonald 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 Girls At Our Best! to the rock kids.
I played it at CBGB's.
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 Slackers. All the underground hits.
All Big Daddy Kane tracks. I heard you have a vinyl of every Reuben Wilson record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Masters at Work record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bluetip,
Funky Four + One,
T.S.O.L.,
Bobby Byrd,
F. McDonald,
The Raincoats,
Bang on a Can All-Stars,
Marc Almond,
Neil Young & Crazy Horse,
Loose Ends,
Albert Ayler,
Visionaries,LMNO, T- Love & Iriscience,
Brass Construction,
Flamin' Groovies,
Stereo Dub,
The Slits,
James White and The Blacks,
Pole,
In Retrospect,
Duran Duran,
Kango’s Stein Massive,
New Age Steppers,
Lyres,
Lungfish,
Liaisons Dangereuses,
Notorious BIG live in Amsterdam,
Alton Ellis,
Public Enemy,
The Vogues,
The Associates,
Thinking Fellers Union Local 282,
Masters at Work,
D'Angelo,
The Wake,
the Slits,
The Cure,
Ash Ra Tempel,
Selector Dub Narcotic,
Erykah Badu,
the Germs,
The Count Five,
Flipper,
Harpers Bizarre,
The Dave Clark Five,
Accadde A,
Nick Fraelich,
Ken Boothe,
Can,
Justin Hinds & The Dominoes,
Jandek,
Minny Pops,
The Victims,
June of 44,
Bauhaus,
Siouxsie and the Banshees,
Von Mondo,
Lucky Dragons,
David Bowie,
The Knickerbockers,
Tropical Tobacco,
Swans,
The Alarm Clocks,
Kas Product, Kas Product, Kas Product, Kas Product.
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.