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 Suriname and from London.
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 1975.
I'm losing my edge.
To all the kids in Bologna and Shanghai.
I'm losing my edge to the art-school Salvador 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 1975 at the first Throbbing Gristle practice in a loft in London.
I was working on the theremin 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 Jawbox to the electroclash 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 David Axelrod. All the underground hits.
All Reagan Youth tracks. I heard you have a vinyl of every June of 44 record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Chocolate Watch Band record.
I hear that you and your band have sold your sitar and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crime,
The Fall,
Marcia Griffiths,
Livin' Joy,
The Knickerbockers,
Goldenarms,
Richard Hell and the Voidoids,
Smog,
ABBA,
Davy DMX,
The Gories,
Urselle,
Dark Day,
Brand Nubian,
Jerry Gold Smith,
Yusef Lateef,
The Pretty Things,
Josef K,
Soulsonic Force,
Lower 48,
Brothers Johnson,
The Divine Comedy,
Shoche,
Idris Muhammad,
Isaac Hayes,
Sex Pistols,
Fear,
Pagans,
Rod Modell,
8 Eyed Spy,
The Remains,
Funkadelic,
John Lydon,
Kauko Röyhkä ja Narttu,
Wasted Youth,
Parry Music,
Fluxion,
Deutsch Amerikanische Freundschaft,
Soft Cell,
Dave Gahan,
Rekid,
New Age Steppers,
Faraquet,
Angry Samoans,
Flipper,
Lee Hazlewood,
Shuggie Otis,
Joensuu 1685,
CMW,
Rites of Spring,
The Alarm Clocks,
Quando Quango,
Deadbeat,
Donny Hathaway,
Ituana,
Nils Olav,
The Durutti Column,
Man Parrish,
Crash Course in Science,
Hasil Adkins,
Electric Prunes,
Althea and Donna,
The Standells, The Standells, The Standells, The Standells.
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.