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 Tajikistan and from Shanghai.
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 1960 to 1970.
I'm losing my edge.
To all the kids in Winnipeg and Sao Paulo.
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 1976 at the first Wire practice in a loft in Watford.
I was working on the spring reverb 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 Crispian St. Peters to the techno 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 Dr. Dre and Snoop Doggy Dog. All the underground hits.
All Pantytec tracks. I heard you have a vinyl of every Eyeless In Gaza record on German import.
I heard that you have a white label of every seminal techno 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 marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
De La Soul & Jungle Brothers,
Camouflage,
T. Rex,
The American Breed,
The Cowsills,
Thompson Twins,
Pulsallama,
Oppenheimer Analysis,
Das Ding,
Sugar Minott,
Sixth Finger,
X-101,
Notorious Big And Bone Thugs,
Interpol,
Depeche Mode,
Nas,
Pere Ubu,
Sister Nancy,
Zero Boys,
Kool G Rap & DJ Polo,
Eric B and Rakim,
Byron Stingily,
cv313,
Lightning Bolt,
Glambeats Corp.,
Sun Ra Arkestra,
The Misunderstood,
Fifty Foot Hose,
The Moleskins,
Lalann,
Albert Ayler,
Sarah Menescal,
JFA,
Thinking Fellers Union Local 282,
Nirvana,
Kaleidoscope,
Dennis Brown,
The Buckinghams,
Young Marble Giants,
Ludus,
Sight & Sound,
The Neon Judgement,
The Skatalites,
Gil Scott-Heron and Jamie xx,
Donny Hathaway,
The Black Dice,
Oneida,
Second Layer,
DJ Sneak,
Minutemen,
Red Lorry Yellow Lorry,
Lakeside,
Vaughan Mason & Crew,
Lee Hazlewood,
Tomorrow,
Louis and Bebe Barron,
the Bar-Kays,
John Coltrane,
Prince Buster,
Outsiders,
The Litter,
Technova,
Isaac Hayes,
Robert Hood,
Gichy Dan, Gichy Dan, Gichy Dan, Gichy Dan.
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.