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 Botswana and from Bremen.
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 1960 to 1977.
I'm losing my edge.
To all the kids in Jakarta and Columbus.
I'm losing my edge to the art-school Accra 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when Captain Beefheart 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 Andrew Ashong & Theo Parrish to the electroclash kids.
I played it at the Crocodile.
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 Lebanon Hanover. All the underground hits.
All Pole tracks. I heard you have a vinyl of every Buzzcocks record on German import.
I heard that you have a white label of every seminal rap 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 theremin and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a The Toasters record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Soul II Soul,
the Germs,
L. Decosne,
Nils Olav,
Lou Christie,
Pantaleimon,
Neil Young & Crazy Horse,
Niagra,
The Trojans,
The Barracudas,
Sly & The Family Stone,
Zero Boys,
The Human League,
Rod Modell,
The Count Five,
Scratch Acid,
Section 25,
Lonnie Liston Smith,
Toni Rubio,
Fear,
Scientists,
Lou Reed & Metallica,
U.S. Maple,
James Chance & The Contortions,
Flash Fearless,
Loose Ends,
Oppenheimer Analysis,
Bluetip,
Soft Cell,
Das Ding,
Make Up,
Suburban Knight,
Kango’s Stein Massive,
Gary Puckett & The Union Gap,
Suicide,
Reagan Youth,
Donny Hathaway,
The Move,
Bootsy Collins,
Television,
The Leaves,
Drive Like Jehu,
Pharoah Sanders,
Charles Mingus,
Infiniti,
Royal Trux,
Gregory Isaacs,
Siglo XX,
Rakim,
Bobbi Humphrey,
Kenny Larkin,
Graham Central Station,
Don Cherry,
The Raincoats,
Ultimate Spinach,
The Doobie Brothers,
Jesper Dahlback,
Ajijia Myrayebe,
The Beau Brummels,
Chris & Cosey,
Wally Richardson,
the Bar-Kays,
Connie Case,
June Days, June Days, June Days, June Days.
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.