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 Azerbaijan 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 1969 to 1978.
I'm losing my edge.
To all the kids in Hong Kong and Portland.
I'm losing my edge to the art-school Stockholm 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the sitar sounds with much patience.
I was there when Robert Palmer 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 Susan Cadogan to the punk 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 Howard Jones. All the underground hits.
All Lou Reed & Metallica tracks. I heard you have a vinyl of every Sun City Girls 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 '80s cut and another box set from the '80s.
I hear you're buying an oboe and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Minny Pops record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
The Tremeloes,
Negative Approach,
Half Japanese,
Crooked Eye,
Nick Cave & The Bad Seeds,
Sällskapet,
Yaz,
Shuggie Otis,
Sunsets and Hearts,
FM Einheit,
Carl Craig,
Kayak,
Reuben Wilson,
The Trojans,
The Knickerbockers,
Kango’s Stein Massive,
Unwound,
Dorothy Ashby,
Marc Romboy vs. Booka Shade,
Juan Atkins,
Easy Going,
Lafayette Afro Rock Band,
Camouflage,
Frankie Knuckles,
Terrestrial Tones,
Suburban Knight,
Robert Görl,
New Order,
Avey Tare,
Eve St. Jones,
Lakeside,
The Peanut Butter Conspiracy,
The Pretty Things,
48th St. Collective,
X-101,
Basic Channel,
Nirvana,
Alison Limerick,
Spandau Ballet,
Albert Ayler,
Piero Umiliani,
Arthur Verocai,
China Crisis,
T. Rex,
Royal Trux,
Gil Scott-Heron & Brian Jackson,
Babytalk,
Sparks,
Ludus,
Dead Boys,
Deakin,
Cheater Slicks,
DNA,
Brick,
Notorious Big And Bone Thugs,
The Detroit Cobras,
Panda Bear,
James Chance & The Contortions,
Aswad,
Gian Franco Pienzio,
Todd Terry, Todd Terry, Todd Terry, Todd Terry.
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.