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 Algeria and from Portland.
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 1978.
I'm losing my edge.
To all the kids in London and Shanghai.
I'm losing my edge to the art-school Seoul 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 chamberlin sounds with much patience.
I was there when Robert Palmer 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 Ultra Naté to the electroclash 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 Technova. All the underground hits.
All Eric Dolphy tracks. I heard you have a vinyl of every Rufus Thomas 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 an oboe and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Smoke record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
48th St. Collective,
The Happenings,
Loose Ends,
Joy Division,
Girls At Our Best!,
The Associates,
Charles Mingus,
Eurythmics,
The Velvet Underground,
The Monks,
Gian Franco Pienzio,
Jeru the Damaja,
Frankie Knuckles,
Thompson Twins,
Tears for Fears,
T. Rex,
the Normal,
Lee Hazlewood,
Robert Wyatt,
Roger Hodgson,
Agitation Free,
Pierre Henry,
The Count Five,
Minnie Riperton,
Marc Almond,
Flamin' Groovies,
Lalo Schifrin,
Tommy Roe,
Smog,
Beasts of Bourbon,
Shuggie Otis,
Aaron Thompson,
The Fuzztones,
Byron Stingily,
Jimmy McGriff,
Arcadia,
Bobby Sherman,
Isaac Hayes,
The Dead C,
The Motions,
Metal Thangz,
Black Sheep,
Ornette Coleman,
Icehouse,
Index,
Fat Boys,
The Shadows of Knight,
Donny Hathaway,
Japan,
DNA,
The Misunderstood,
Swans,
Spandau Ballet,
Khruangbin,
Wolf Eyes,
The Searchers,
The Human League,
Gil Scott Heron,
Prince Buster,
Orchestral Manoeuvres in the Dark,
Camron Feat. Jay Z And Juelz,
Dead Boys,
The Fortunes, The Fortunes, The Fortunes, The Fortunes.
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.