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 Syria and from Houston.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1976.
I'm losing my edge.
To all the kids in Salvador and Winnipeg.
I'm losing my edge to the art-school Philadelphia 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 guitar sounds with much patience.
I was there when Michael McDonald 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 Index to the disco kids.
I played it at CBGB's.
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 Magazine. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Soul II Soul record on German import.
I heard that you have a white label of every seminal funk 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 mellotron and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a DNA record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lizzy Mercier Descloux,
Niagra,
The Monochrome Set,
The Star Department,
In Retrospect,
The American Breed,
Archie Shepp,
Eyeless In Gaza,
Jimmy McGriff,
F. McDonald,
Strawberry Alarm Clock,
Camron Feat. Memphis Bleek And Beenie Seigel,
Matthew Halsall,
Skarface,
The Mighty Diamonds,
The Monks,
Sarah Menescal,
48th St. Collective,
Pylon,
One Last Wish,
The Fortunes,
CMW,
Chris & Cosey,
Amazonics,
Bootsy Collins,
The Litter,
The Men They Couldn't Hang,
Delon & Dalcan,
Scrapy,
Ludus,
The Raincoats,
The Gap Band,
Red Lorry Yellow Lorry,
Crime,
The Sonics,
Bobbi Humphrey,
Glenn Branca,
Cal Tjader,
Scratch Acid,
Aaron Thompson,
X-Ray Spex,
Kayak,
The Blues Magoos,
Soft Cell,
Stetsasonic,
Eric B and Rakim,
X-102,
Skaos,
Lou Reed & John Cale,
Essential Logic,
Bill Wells,
Amon Düül,
Arcadia,
The Move,
John Cale,
Matthew Bourne,
The Slackers,
Deadbeat,
Minny Pops,
Black Pus,
Yusef Lateef,
Loose Ends,
Dead Boys,
DeepChord presents Echospace,
Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts.
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.