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 Czech Republic and from Houston.
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 1968 to 1977.
I'm losing my edge.
To all the kids in Delhi and Johannesburg.
I'm losing my edge to the art-school Lyon 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the spring reverb 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 La Düsseldorf to the rap kids.
I played it at Trash.
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 Robert Hood. All the underground hits.
All B.T. Express tracks. I heard you have a vinyl of every Terry Callier 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 '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a This Heat record.
I hear that you and your band have sold your spring reverb and bought a sitar.
I hear that you and your band have sold your sitar and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
John Holt,
The Last Poets,
The Men They Couldn't Hang,
Erasure,
Eyeless In Gaza,
Sunsets and Hearts,
Second Layer,
Bootsy's Rubber Band,
Bobby Byrd,
Toni Rubio,
Kauko Röyhkä ja Narttu,
CMW,
Bauhaus,
Black Moon,
Lizzy Mercier Descloux,
The Star Department,
Michelle Simonal,
Agent Orange,
World's Most,
The Count Five,
Louis and Bebe Barron,
Half Japanese,
Jeff Mills,
Outsiders,
The Golliwogs,
Kevin Saunderson,
The Techniques,
Gong,
Kerrie Biddell,
Jacques Brel,
Henry Cow,
Marc Romboy vs. Booka Shade,
Don Cherry,
The Smoke,
Bootsy Collins,
The Mojo Men,
Kerri Chandler,
Robert Görl,
Porter Ricks,
Nils Olav,
Country Teasers,
kango's stein massive,
Chris Corsano,
The Associates,
The Fire Engines,
Procol Harum,
FM Einheit,
The Sound,
Sun Ra Arkestra,
Tropical Tobacco,
Chrome,
The Cowsills,
Charles Mingus,
Delon & Dalcan,
Nirvana,
Sight & Sound,
Grandmaster Flash,
Avey Tare & Kría Brekkan,
The Music Machine,
Mad Mike,
Talk Talk,
Heaven 17,
Unrelated Segments, Unrelated Segments, Unrelated Segments, Unrelated Segments.
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.