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 Taiwan and from Lagos.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Jakarta and Sao Paulo.
I'm losing my edge to the art-school Cairo 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 theremin 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 Blossom Toes to the crunk kids.
I played it at Trash.
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 Joe Smooth. All the underground hits.
All Althea and Donna tracks. I heard you have a vinyl of every Dark Day record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a marimba and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Mummies,
Saccharine Trust,
Cal Tjader,
Scott Walker,
Ornette Coleman,
Lakeside,
The Cowsills,
Ice-T,
Kevin Saunderson,
Rosa Yemen,
DeepChord presents Echospace,
Clear Light,
Roy Ayers,
Depeche Mode,
Ossler,
Black Flag,
Oblivians,
Jandek,
John Cale,
8 Eyed Spy,
the Bar-Kays,
Scan 7,
The Music Machine,
Eyeless In Gaza,
Susan Cadogan,
Eden Ahbez,
Masters at Work,
Alphaville,
June of 44,
The Wake,
Robert Görl,
Kerri Chandler,
Alice Coltrane,
Echo & the Bunnymen,
kango's stein massive,
David McCallum,
D'Angelo,
Magazine,
Pylon,
The Fuzztones,
Spandau Ballet,
Neil Young & Crazy Horse,
Janne Schatter,
Y Pants,
Banda Bassotti,
Bad Manners,
Scientists,
Laurel Aitken,
Toni Rubio,
Pete Rock & C.L. Smooth,
N.O.R.E. Featuring Pharrell,
Ken Boothe,
Lebanon Hanover,
Theoretical Girls,
Althea and Donna,
Altered Images,
Sparks,
Pierre Henry,
Ten City,
Royal Trux,
Minutemen, Minutemen, Minutemen, Minutemen.
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.