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 El Salvador and from Calgary.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1967 to 1974.
I'm losing my edge.
To all the kids in Glasgow and Houston.
I'm losing my edge to the art-school Tokyo 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 snare sounds with much patience.
I was there when David Bowie 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 Notorious Big And Bone Thugs to the rock kids.
I played it at the Troubador.
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 Görl. All the underground hits.
All Camberwell Now tracks. I heard you have a vinyl of every Minutemen 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 '50s cut and another box set from the '70s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Dennis Brown record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q65,
Excepter,
Sly & The Family Stone,
Intrusion,
Notorious BIG live in Amsterdam,
Quantec,
Oppenheimer Analysis,
Sarah Menescal,
UT,
Babytalk,
Robert Görl,
Wings,
Unwound,
Underground Resistance,
FM Einheit,
Big Daddy Kane,
Davy DMX,
Josef K,
Drexciya,
Kerri Chandler,
Sexual Harrassment,
Monolake,
Model 500,
Donny Hathaway,
Fluxion,
Anakelly,
Fugazi,
The Black Dice,
Mark Hollis,
The Fortunes,
Terror Squad Feat. Camron,
The Residents,
Ken Boothe,
Gichy Dan,
Wire,
Echo & the Bunnymen,
Nation of Ulysses,
Royal Trux,
Matthew Halsall,
Bronski Beat,
The Beau Brummels,
Main Source,
Ornette Coleman,
Sonic Youth,
Wighnomy Brothers & Robag Wruhme,
Bobby Womack,
Gary Puckett & The Union Gap,
The Mighty Diamonds,
Barry Ungar,
Glenn Branca,
MDC,
Sun City Girls,
Louis and Bebe Barron,
Pantytec,
Red Lorry Yellow Lorry,
Reuben Wilson,
Kevin Saunderson,
The Kinks,
The Shadows of Knight,
Camron Feat. Memphis Bleek And Beenie Seigel,
Silicon Teens,
Selector Dub Narcotic,
Lou Christie,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.