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 Lebanon and from Winnipeg.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Taipei and Lille.
I'm losing my edge to the art-school Johannesburg 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 Feelies practice in a loft in Haledon.
I was working on the 808 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 Deutsch Amerikanische Freundschaft to the funk 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 Subhumans. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every Bob Dylan record on German import.
I heard that you have a white label of every seminal electroclash 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 spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Sisters of Mercy record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Underground Resistance,
Johnny Clarke,
The Cramps,
Pulsallama,
Organ,
Derrick Morgan,
Siglo XX,
Symarip,
Janne Schatter,
Bill Wells,
The Smiths,
Strawberry Alarm Clock,
Harmonia,
Rekid,
Q and Not U,
Delon & Dalcan,
Maleditus Sound,
Adolescents,
Ash Ra Tempel,
Gil Scott-Heron & Brian Jackson,
Make Up,
R.M.O.,
X-102,
The Trojans,
Mark Hollis,
Lizzy Mercier Descloux,
Bob Dylan,
Ralphi Rosario,
Babytalk,
Donald Byrd,
Rhythim Is Rhythim,
The Neon Judgement,
Fifty Foot Hose,
Soulsonic Force,
Sun Ra,
Amon Düül II,
LL Cool J,
Gregory Isaacs,
Khruangbin,
Vaughan Mason & Crew,
Excepter,
Procol Harum,
Nirvana,
Harry Pussy,
Surgeon,
Eyeless In Gaza,
a-ha,
Skriet,
La Düsseldorf,
CMW,
Pharaoh Sanders and the Fire Engines,
Erasure,
Peter Gordon & Love of Life Orchestra,
Con Funk Shun,
Jesper Dahlbäck,
The Smoke,
The Victims,
MDC,
Nik Kershaw,
Franke,
Smog,
The Selecter,
Idris Muhammad, Idris Muhammad, Idris Muhammad, Idris Muhammad.
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.