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 Thailand and from Salvador.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Philadelphia and Houston.
I'm losing my edge to the art-school Mumbai 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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 Silicon Teens to the grunge kids.
I played it at the 40 Watt.
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 Tres Demented. All the underground hits.
All Josef K tracks. I heard you have a vinyl of every Drexciya record on German import.
I heard that you have a white label of every seminal disco 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 spring reverb and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a James White and The Blacks 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?
The Wake,
Crispy Ambulance,
Popol Vuh,
Jacob Miller,
The Dirtbombs,
The J.B.'s,
Severed Heads,
The Alarm Clocks,
X-Ray Spex,
the Fania All-Stars,
Motorama,
L. Decosne,
Marvin Gaye,
ABC,
Sun Ra,
Bad Manners,
Bobby Womack,
Judy Mowatt,
Peter and Kerry,
Dorothy Ashby,
Crispian St. Peters,
Soft Cell,
The Chocolate Watch Band,
Minutemen,
Rites of Spring,
Deutsch Amerikanische Freundschaft,
Man Parrish,
Crime,
Dave Gahan,
The Saints,
Kerrie Biddell,
The Tremeloes,
Shoche,
The Electric Prunes,
Ultra Naté,
The Names,
Kerri Chandler,
Theoretical Girls,
Sonny Sharrock,
The Slits,
Girls At Our Best!,
The Walker Brothers,
Average White Band,
Vainqueur,
Echo & the Bunnymen,
Agitation Free,
Tres Demented,
Amazonics,
Arab on Radar,
The Stooges,
Traffic Nightmare,
Matthew Halsall,
The Motions,
Hot Snakes,
Symarip,
New Order,
Easy Going,
Ultramagnetic MC's,
Warren Ellis,
Roxy Music,
Stockholm Monsters,
John Cale,
Quantec,
John Coltrane, John Coltrane, John Coltrane, John Coltrane.
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.