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 Palau and from Milan.
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 1979.
I'm losing my edge.
To all the kids in Paris and Taipei.
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 1978 at the first Visage practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Holger Czukay 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 Moss Icon to the jazz kids.
I played it at CBGB's.
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 The Sisters of Mercy. All the underground hits.
All Radiohead tracks. I heard you have a vinyl of every Funky Four + One record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Unwound record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spoonie Gee,
Althea and Donna,
Underground Resistance,
Soul II Soul,
Andrew Ashong & Theo Parrish,
The Count Five,
Neil Young & Crazy Horse,
Junior Murvin,
Joensuu 1685,
The Offenders,
Camron Feat. Memphis Bleek And Beenie Seigel,
The Flesh Eaters,
Man Parrish,
Lower 48,
Cal Tjader,
Ultra Naté,
Lafayette Afro Rock Band,
A Flock of Seagulls,
Rufus Thomas,
Rapeman,
Aural Exciters,
The Monochrome Set,
The Walker Brothers,
The Litter,
Roxette,
Monks,
Pantaleimon,
ABBA,
Dorothy Ashby,
The Victims,
Wire,
The Selecter,
Barclay James Harvest,
Bill Near,
The Golliwogs,
Ten City,
Essential Logic,
Gastr Del Sol,
Marine Girls,
Circle Jerks,
Röyhkä ja Rättö ja Lehtisalo,
Vainqueur,
Buzzcocks,
K-Klass,
EPMD,
Gil Scott-Heron and Jamie xx,
Throbbing Gristle,
The Fuzztones,
Wighnomy Brothers & Robag Wruhme,
Swans,
Black Pus,
The Blues Magoos,
Skarface,
Oblivians,
Jeff Mills,
Mandrill,
Television Personalities,
Sarah Menescal,
Scott Walker + Sunn O))),
Ossler,
Brand Nubian,
Camberwell Now,
Donald Byrd,
Echospace, Echospace, Echospace, Echospace.
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.