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 United Kingdom and from Philadelphia.
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 1961 to 1976.
I'm losing my edge.
To all the kids in Salvador and London.
I'm losing my edge to the art-school Manchester 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 1976 at the first Wire practice in a loft in Watford.
I was working on the 808 sounds with much patience.
I was there when Lou Reed 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 Jawbox to the punk 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 Newcleus. All the underground hits.
All Quadrant tracks. I heard you have a vinyl of every Eyeless In Gaza record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Los Fastidios record.
I hear that you and your band have sold your arpeggiator and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Alton Ellis,
T.S.O.L.,
Matthew Halsall,
Sonny Sharrock,
Spandau Ballet,
The Young Rascals,
Dennis Brown,
Main Source,
Vainqueur,
Robert Wyatt,
Ten City,
Depeche Mode,
Max Romeo,
Hasil Adkins,
Richard Hell and the Voidoids,
Desert Stars,
Tropical Tobacco,
DJ Sneak,
The Mojo Men,
Laurel Aitken,
Sarah Menescal,
Tubeway Army,
Larry & the Blue Notes,
the Swans,
Index,
Crispian St. Peters,
Selector Dub Narcotic,
Trumans Water,
Little Man,
The Searchers,
DNA,
KRS-One,
Oblivians,
Deutsch Amerikanische Freundschaft,
The Mummies,
The Leaves,
Glambeats Corp.,
Technova,
The Jesus and Mary Chain,
Electric Light Orchestra,
Siouxsie and the Banshees,
Agent Orange,
Reuben Wilson,
Shuggie Otis,
the Soft Cell,
Boredoms,
Derrick Morgan,
Todd Terry,
Wings,
Ralphi Rosario,
Todd Rundgren,
Glenn Branca,
Pharaoh Sanders and the Fire Engines,
Blancmange,
Bobbi Humphrey,
Anakelly,
Minutemen,
The Neon Judgement,
The Vogues,
Johnny Osbourne,
Black Moon,
Cecil Taylor,
Eddi Front,
Tim Buckley,
Wasted Youth, Wasted Youth, Wasted Youth, Wasted Youth.
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.