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 Burkina and from Cairo.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Seoul and Lagos.
I'm losing my edge to the art-school New York 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 808 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 Pulsallama to the funk 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 Nirvana. All the underground hits.
All Slave tracks. I heard you have a vinyl of every Brand Nubian record on German import.
I heard that you have a white label of every seminal rap 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 a chamberlin and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Kauko Röyhkä ja Narttu record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flamin' Groovies,
Pylon,
Cabaret Voltaire,
Buzzcocks,
The Evens,
Warren Ellis,
cv313,
Das Ding,
Public Enemy,
Neu!,
Avey Tare & Kría Brekkan,
Malaria!,
Tomorrow,
The Martian,
Gang Starr,
Beasts of Bourbon,
The Gladiators,
Tim Buckley,
Dorothy Ashby,
Thinking Fellers Union Local 282,
Kings Of Tomorrow,
The Mojo Men,
A Certain Ratio,
Deutsch Amerikanische Freundschaft,
Curtis Mayfield,
The Techniques,
Davy DMX,
Panda Bear,
The Neon Judgement,
John Coltrane,
Ituana,
Babytalk,
The Trojans,
Rotary Connection,
Todd Terry,
The Monks,
Lizzy Mercier Descloux,
Animal Collective,
EPMD,
Pete Rock & C.L. Smooth,
Marc Almond,
Angry Samoans,
Blake Baxter,
Harpers Bizarre,
Silicon Teens,
Whodini,
Sex Pistols,
Gil Scott-Heron and Jamie xx,
Con Funk Shun,
Dual Sessions,
Soul II Soul,
X-101,
Eve St. Jones,
The American Breed,
Faust,
Procol Harum,
La Düsseldorf,
Masters at Work,
Fela Kuti, Fela Kuti, Fela Kuti, Fela Kuti.
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.