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 Iran and from Lille.
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 Manila and Philadelphia.
I'm losing my edge to the art-school Portland 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 808 sounds with much patience.
I was there when Donald Fagen 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 Fall to the punk kids.
I played it at the Hacienda.
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 Schoolly D. All the underground hits.
All Connie Case tracks. I heard you have a vinyl of every The Peanut Butter Conspiracy 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 '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Minny Pops record.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Masters at Work,
Kaleidoscope,
L. Decosne,
Deutsch Amerikanische Freundschaft,
Alison Limerick,
Stiv Bators,
Nas,
Scott Walker + Sunn O))),
Beasts of Bourbon,
Audionom,
Donny Hathaway,
Bush Tetras,
Brand Nubian,
Pete Rock & C.L. Smooth,
Quando Quango,
Yazoo,
Intrusion,
Quadrant,
Drive Like Jehu,
Cabaret Voltaire,
X-Ray Spex,
Loose Ends,
Black Flag,
The Doobie Brothers,
Marc Almond,
Kings Of Tomorrow,
Peter & Gordon,
Altered Images,
Ash Ra Tempel,
The Vogues,
Justin Hinds & The Dominoes,
Severed Heads,
Aloha Tigers,
H. Thieme,
Orchestral Manoeuvres in the Dark,
The American Breed,
A Certain Ratio,
Brick,
the Fania All-Stars,
Kayak,
Al Stewart,
Sight & Sound,
Zapp,
Mars,
The Slits,
Fugazi,
Piero Umiliani,
The Flesh Eaters,
The Count Five,
Scott Walker,
K-Klass,
Bluetip,
Model 500,
Vladislav Delay,
Siglo XX,
Jerry's Kids,
The Fire Engines,
Todd Rundgren,
Curtis Mayfield,
Crime,
Graham Central Station,
Max Romeo, Max Romeo, Max Romeo, Max Romeo.
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.