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 Zimbabwe and from Shanghai.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1970.
I'm losing my edge.
To all the kids in Calgary and Salvador.
I'm losing my edge to the art-school Madrid 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 808 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 Jawbox to the disco kids.
I played it at the Roxy.
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 Ralphi Rosario. All the underground hits.
All Pussy Galore tracks. I heard you have a vinyl of every Grandmaster Flash and the Furious Five 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 '60s cut and another box set from the '80s.
I hear you're buying a güiro and a mellotron 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 arpeggiator and bought a snare.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mad Mike,
Stiv Bators,
Subhumans,
Rakim,
Negative Approach,
Sam Rivers,
Camron Feat. Memphis Bleek And Beenie Seigel,
Depeche Mode,
The Blackbyrds,
UT,
Lou Christie,
Robert Hood,
Shoche,
Jeff Mills,
DJ Style,
Davy DMX,
T. Rex,
Rotary Connection,
Wally Richardson,
Letta Mbulu,
Pere Ubu,
Erasure,
Bobby Womack,
Lafayette Afro Rock Band,
The Gories,
Stereo Dub,
Aswad,
The Searchers,
Agitation Free,
Animal Collective,
Organ,
Lindisfarne,
Aaron Thompson,
Jacques Brel,
The Black Dice,
John Foxx,
Mark Hollis,
Justin Hinds & The Dominoes,
Harry Pussy,
Röyhkä ja Rättö ja Lehtisalo,
The Fortunes,
F. McDonald,
Andrew Hill,
Black Moon,
Steve Hackett,
Idris Muhammad,
Radiohead,
Unwound,
Gong,
The Velvet Underground,
Nik Kershaw,
Ultimate Spinach,
Underground Resistance,
The Knickerbockers,
Robert Görl,
Gil Scott-Heron & Brian Jackson,
The United States of America,
Minutemen,
Oblivians,
Todd Rundgren, Todd Rundgren, Todd Rundgren, Todd Rundgren.
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.