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 Jordan 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 1967 to 1979.
I'm losing my edge.
To all the kids in Columbus and Houston.
I'm losing my edge to the art-school Winnipeg 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the synthesizer 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 Leonard Cohen to the grime 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 The Monks. All the underground hits.
All the Normal tracks. I heard you have a vinyl of every Siglo XX record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Associates record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
Accadde A,
Thompson Twins,
Donald Byrd,
Big Daddy Kane,
Deepchord,
Barry Ungar,
Andrew Hill,
Rowland S Howard / Lydia Lunch,
Ajijia Myrayebe,
Cymande,
Pete Rock & C.L. Smooth,
Schoolly D,
Connie Case,
Young Marble Giants,
Procol Harum,
Spoonie Gee,
The Seeds,
Sun City Girls,
KRS-One,
Smog,
Minny Pops,
The Victims,
The Jesus and Mary Chain,
Arthur Verocai,
Ultra Naté,
Lonnie Liston Smith,
Harmonia,
Gian Franco Pienzio,
Marshall Jefferson,
Rhythim Is Rhythim,
Maleditus Sound,
Graham Central Station,
Amazonics,
Yaz,
Man Parrish,
Harry Pussy,
Arcadia,
London Community Gospel Choir,
Von Mondo,
Avey Tare,
Rhythm & Sound,
The Slackers,
Junior Murvin,
Justin Hinds & The Dominoes,
Scott Walker + Sunn O))),
Fort Wilson Riot,
The Techniques,
Gregory Isaacs,
the Bar-Kays,
The Litter,
Minor Threat,
The Royal Family And The Poor,
Mark Hollis,
Dennis Brown,
Gang of Four,
Neil Young,
Pagans,
Kool G Rap & DJ Polo,
Sonic Youth,
Angry Samoans,
Icehouse, Icehouse, Icehouse, Icehouse.
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.