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 Guinea and from Glasgow.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
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 Manchester and Salvador.
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 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 Michelle Simonal to the disco 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 Avey Tare. All the underground hits.
All Cabaret Voltaire tracks. I heard you have a vinyl of every Severed Heads record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction 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?
Procol Harum,
Alton Ellis,
The West Coast Pop Art Experimental Band,
Yazoo,
The Evens,
The Music Machine,
Clear Light,
Byron Stingily,
Cymande,
Mission of Burma,
Rekid,
The Cure,
LL Cool J,
Kayak,
T. Rex,
Suburban Knight,
Derrick May,
Iggy Pop,
Marc Romboy vs. Booka Shade,
Blake Baxter,
Joey Negro,
T.S.O.L.,
Intrusion,
Parry Music,
Amazonics,
The Kinks,
Fluxion,
Eyeless In Gaza,
The Walker Brothers,
Public Enemy,
The Offenders,
Cheater Slicks,
Soul II Soul,
Bluetip,
Heaven 17,
Organ,
Main Source,
Crime,
Lizzy Mercier Descloux,
The Moleskins,
Skriet,
Morten Harket,
Swans,
Guru Guru,
Amon Düül II,
Japan,
The Alarm Clocks,
Camouflage,
Lower 48,
Bauhaus,
De La Soul & Jungle Brothers,
Althea and Donna,
Drive Like Jehu,
Louis and Bebe Barron,
The Fire Engines,
Sarah Menescal,
The Busters,
the Association,
The Dirtbombs,
Scott Walker,
Pharoah Sanders,
Arcadia,
Fifty Foot Hose,
This Heat, This Heat, This Heat, This Heat.
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.