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 Jamaica and from Stockholm.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1963 to 1972.
I'm losing my edge.
To all the kids in Columbus and Shanghai.
I'm losing my edge to the art-school Sao Paulo 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 harpsichord sounds with much patience.
I was there when Tom Verlaine 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 Mo-Dettes to the funk kids.
I played it at the Hacienda.
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 Roger Hodgson. All the underground hits.
All Kevin Saunderson tracks. I heard you have a vinyl of every Connie Case record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a güiro and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Jawbox record.
I hear that you and your band have sold your marimba and bought a snare.
I hear that you and your band have sold your snare and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Audionom,
Fifty Foot Hose,
Nas,
Henry Cow,
The Techniques,
Teenage Jesus and the Jerks,
Matthew Halsall,
Graham Central Station,
Blancmange,
Monks,
The Zeros,
Magma,
Major Organ And The Adding Machine,
Sad Lovers and Giants,
Warsaw,
Black Moon,
Archie Shepp,
Black Sheep,
Justin Hinds & The Dominoes,
Robert Wyatt,
DJ Style,
The Electric Prunes,
Gian Franco Pienzio,
Kurtis Blow,
The Happenings,
Sugar Minott,
Arab on Radar,
Alton Ellis,
Marcia Griffiths,
Ohio Players,
Lizzy Mercier Descloux,
Sarah Menescal,
Roy Ayers,
Al Stewart,
Young Marble Giants,
Mary Jane Girls,
John Lydon,
Traffic Nightmare,
Minutemen,
Roger Hodgson,
Camouflage,
Eli Mardock,
Dead Boys,
Notorious Big And Bone Thugs,
Adolescents,
The Velvet Underground,
Charles Mingus,
A Certain Ratio,
The Alarm Clocks,
the Soft Cell,
Frankie Knuckles,
Rowland S Howard / Lydia Lunch,
Laurel Aitken,
Jawbox,
Section 25,
Alison Limerick,
Can,
Zapp,
Q65,
Aaron Thompson,
Newcleus,
The Selecter,
Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses, Liaisons Dangereuses.
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.