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 Indonesia and from Edmonton.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Johannesburg and Beijing.
I'm losing my edge to the art-school Portland 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 linndrum 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 Intrusion to the funk kids.
I played it at the Roxy.
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 Eyeless In Gaza. All the underground hits.
All The Music Machine 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 grime 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 chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Joyce Sims record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord 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?
Faust,
The Young Rascals,
Marcia Griffiths,
Gian Franco Pienzio,
Marvin Gaye,
Ten City,
Theoretical Girls,
Chrome,
The Gories,
Anakelly,
Vaughan Mason & Crew,
Bill Wells,
Sly & The Family Stone,
Lou Christie,
Bill Near,
Judy Mowatt,
A Flock of Seagulls,
The Searchers,
Suicide,
Johnny Osbourne,
This Heat,
The Birthday Party,
Das Ding,
Sparks,
Sarah Menescal,
Hardrive,
The Zeros,
Letta Mbulu,
James Chance & The Contortions,
Orchestral Manoeuvres in the Dark,
The Chocolate Watch Band,
Pussy Galore,
Dave Gahan,
Mantronix,
Can,
David McCallum,
Robert Görl,
the Human League,
Absolute Body Control,
Porter Ricks,
Fat Boys,
Janne Schatter,
EPMD,
Harmonia,
T. Rex,
London Community Gospel Choir,
K-Klass,
Ronan,
Louis and Bebe Barron,
Royal Trux,
Public Image Ltd.,
Don Cherry,
Matthew Bourne,
Silicon Teens,
Grauzone,
Soft Cell,
The Leaves,
Rekid,
Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis, Oppenheimer Analysis.
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.