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 Australia and from Portland.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Lyon and London.
I'm losing my edge to the art-school Bologna 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 synthesizer 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 Vladislav Delay to the grime 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 The Move. All the underground hits.
All Hasil Adkins tracks. I heard you have a vinyl of every Ultravox record on German import.
I heard that you have a white label of every seminal rock 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 marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Rhythm & Sound record.
I hear that you and your band have sold your clarinet and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Al Stewart,
Arthur Verocai,
Kool G Rap & DJ Polo,
Public Image Ltd.,
La Düsseldorf,
Pylon,
Dual Sessions,
R.M.O.,
The Flesh Eaters,
Gregory Isaacs,
Kauko Röyhkä ja Narttu,
the Soft Cell,
Warren Ellis,
Alton Ellis,
The Doors,
The Gun Club,
Flash Fearless,
Pole,
Gary Puckett & The Union Gap,
Clear Light,
Blake Baxter,
Barry Ungar,
Radio Birdman,
Chrome,
Carl Craig,
Sugar Minott,
The Motions,
One Last Wish,
Banda Bassotti,
Desert Stars,
Goldenarms,
Roy Ayers Ubiquity,
Roger Hodgson,
Liaisons Dangereuses,
Black Flag,
Ornette Coleman,
Mary Jane Girls,
Swell Maps,
Wire,
Eddi Front,
Barrington Levy,
Terror Squad Feat. Camron,
Thompson Twins,
Mark Hollis,
a-ha,
Visionaries,LMNO, T- Love & Iriscience,
the Normal,
Jerry's Kids,
Curtis Mayfield,
Quantec,
Masters at Work,
The Walker Brothers,
Mission of Burma,
John Foxx,
Anthony Braxton,
The Monks,
The Dead C,
Stiv Bators,
Dark Day,
Sexual Harrassment, Sexual Harrassment, Sexual Harrassment, Sexual Harrassment.
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.