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 Johannesburg.
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 1964 to 1972.
I'm losing my edge.
To all the kids in Accra and Tokyo.
I'm losing my edge to the art-school Lille 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 1984 at the first Arcadia practice in a loft in London.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart 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 Johnny Osbourne to the grunge kids.
I played it at the 40 Watt.
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 Rites of Spring. All the underground hits.
All The Kinks tracks. I heard you have a vinyl of every Peter & Gordon 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 '70s cut and another box set from the '90s.
I hear you're buying a harpsichord and a spring reverb 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 guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Blackbyrds,
The Standells,
The Barracudas,
Radio Birdman,
Marshall Jefferson,
Sandy B,
The United States of America,
The Young Rascals,
Essential Logic,
Severed Heads,
Gil Scott-Heron & Brian Jackson,
The Flesh Eaters,
Blancmange,
Heavy D & The Boyz,
Thinking Fellers Union Local 282,
Drive Like Jehu,
Prince Buster,
D'Angelo,
Black Sheep,
Rahsaan Roland Kirk,
Nirvana,
This Heat,
Mark Hollis,
Roxy Music,
cv313,
Minutemen,
Todd Rundgren,
Godley & Creme,
Kauko Röyhkä ja Narttu,
Popol Vuh,
Pantytec,
Ice-T,
Blake Baxter,
Peter & Gordon,
Neu!,
Visage,
Stockholm Monsters,
Lightning Bolt,
Pulsallama,
The Moody Blues,
Reagan Youth,
The Electric Prunes,
Deutsch Amerikanische Freundschaft,
James Chance & The Contortions,
Bill Near,
Bronski Beat,
A Certain Ratio,
The Men They Couldn't Hang,
Trumans Water,
Gian Franco Pienzio,
CMW,
Animal Collective,
E-Dancer,
The Associates,
Little Man,
DJ Style,
Gastr Del Sol,
The Monochrome Set,
Eric Dolphy,
Ken Boothe,
Depeche Mode,
The Toasters,
The Mighty Diamonds, The Mighty Diamonds, The Mighty Diamonds, The Mighty Diamonds.
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.