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 Cameroon and from Seoul.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Stockholm and Beijing.
I'm losing my edge to the art-school Toronto 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 1984 at the first Arcadia practice in a loft in London.
I was working on the mellotron 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 Average White Band to the grunge 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 Bill Wells. All the underground hits.
All Khruangbin tracks. I heard you have a vinyl of every Negative Approach record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a 808 and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Monolake record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
The Cowsills,
Public Enemy,
D'Angelo,
Bobby Hutcherson,
Tomorrow,
Lonnie Liston Smith,
The Slackers,
Danielle Patucci,
Notorious BIG live in Amsterdam,
Schoolly D,
Reagan Youth,
Underground Resistance,
Terry Callier,
Morten Harket,
Country Teasers,
Panda Bear,
The Velvet Underground,
Das Ding,
Laurel Aitken,
Soft Machine,
It's A Beautiful Day,
The Chocolate Watch Band,
Ken Boothe,
cv313,
Echospace,
New York Dolls,
Gil Scott-Heron & Brian Jackson,
Yazoo,
The Fugs,
Half Japanese,
The Men They Couldn't Hang,
The Sound,
Kevin Saunderson,
Trumans Water,
Eyeless In Gaza,
Essential Logic,
Sandy B,
Gil Scott Heron,
Alphaville,
Kool Moe Dee,
L. Decosne,
The Birthday Party,
Television,
Pharoah Sanders,
Jacques Brel,
Fifty Foot Hose,
Isaac Hayes,
Ludus,
Tommy Roe,
Harry Pussy,
Urselle,
Stockholm Monsters,
Fluxion,
Supertramp,
Tears for Fears,
Babytalk,
Archie Shepp,
Zapp,
Jesper Dahlbäck,
Neu!,
The Fall,
Byron Stingily, Byron Stingily, Byron Stingily, Byron Stingily.
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.