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 Madagascar and from Cairo.
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 1962 to 1977.
I'm losing my edge.
To all the kids in Halifax and Calgary.
I'm losing my edge to the art-school Accra 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 guitar sounds with much patience.
I was there when Tom Verlaine 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 Association to the grime 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 Five Americans. All the underground hits.
All Clear Light tracks. I heard you have a vinyl of every Black Flag 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 '50s cut and another box set from the '90s.
I hear you're buying a theremin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a The Black Dice record.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
the Human League,
Swell Maps,
Amazonics,
The Chocolate Watch Band,
Funkadelic,
The Blues Magoos,
Fort Wilson Riot,
Severed Heads,
Andrew Ashong & Theo Parrish,
Super Lover Cee & Casanova Rud,
The Remains,
Johnny Clarke,
Bill Wells,
Clear Light,
Tears for Fears,
Al Stewart,
Jesper Dahlbäck,
Livin' Joy,
Das Ding,
Lizzy Mercier Descloux,
The Leaves,
Brand Nubian,
Soul Sonic Force,
Orchestral Manoeuvres in the Dark,
Blancmange,
Flipper,
London Community Gospel Choir,
The Real Kids,
Inner City,
Judy Mowatt,
Marine Girls,
The West Coast Pop Art Experimental Band,
Panda Bear,
Sonny Sharrock,
Kerri Chandler,
Aural Exciters,
Hoover,
New York Dolls,
Maurizio,
The Pop Group,
In Retrospect,
The Smiths,
Aswad,
Nas,
Harmonia,
Kings Of Tomorrow,
The Grass Roots,
Metal Thangz,
Chris Corsano,
Girls At Our Best!,
Audionom,
Big Daddy Kane,
The Slits,
Mad Mike,
Siglo XX,
The Music Machine,
48th St. Collective,
Monolake, Monolake, Monolake, Monolake.
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.