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 India and from Stockholm.
But I was there.
I was there in 2001.
I was there at the first Tiga show in Montreal.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Mexico City and Copenhagen.
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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the snare 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 The United States of America to the rap 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 The Doors. All the underground hits.
All Altered Images tracks. I heard you have a vinyl of every Deadbeat record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a clarinet and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Bobby Sherman record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brothers Johnson,
Bang On A Can,
Ultimate Spinach,
The Real Kids,
The Chocolate Watch Band,
a-ha,
Index,
The Names,
Marvin Gaye,
Deepchord,
Television Personalities,
Roxette,
Audionom,
Red Lorry Yellow Lorry,
Toni Rubio,
48th St. Collective,
The J.B.'s,
Electric Prunes,
Drexciya,
Essential Logic,
Anakelly,
T. Rex,
Kevin Saunderson,
Matthew Bourne,
Funkadelic,
Absolute Body Control,
Gastr Del Sol,
Cecil Taylor,
The Gap Band,
Visage,
Shuggie Otis,
Roy Ayers Ubiquity,
Aaron Thompson,
Guru Guru,
Blancmange,
Lalann,
The Stooges,
Half Japanese,
Bill Wells,
Surgeon,
L. Decosne,
Richard Hell and the Voidoids,
UT,
Public Image Ltd.,
June of 44,
Little Man,
Popol Vuh,
Lou Reed,
Jeff Lynne,
the Human League,
Ornette Coleman,
Kauko Röyhkä ja Narttu,
Thompson Twins,
Notorious BIG live in Amsterdam,
Lungfish,
These Immortal Souls,
Rhythim Is Rhythim,
Vaughan Mason & Crew,
The Slackers,
Q and Not U,
The Fortunes,
Larry & the Blue Notes,
Rhythm & Sound,
Bauhaus, Bauhaus, Bauhaus, Bauhaus.
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.