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 Suriname and from Houston.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
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 1969 to 1973.
I'm losing my edge.
To all the kids in Taipei and Shanghai.
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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the theremin sounds with much patience.
I was there when Michael McDonald 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 Alphaville to the rock 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 Donny Hathaway. All the underground hits.
All Louis and Bebe Barron tracks. I heard you have a vinyl of every Ajijia Myrayebe 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 '50s cut and another box set from the '90s.
I hear you're buying a marimba and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Skarface record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mars,
Todd Rundgren,
The Grass Roots,
Dave Gahan,
Ossler,
Major Organ And The Adding Machine,
Jesper Dahlback,
The Fall,
Barry Ungar,
The New Christs,
Masters at Work,
Barclay James Harvest,
The Blues Magoos,
Sandy B,
Lebanon Hanover,
The Pretty Things,
Neil Young,
Notorious Big And Bone Thugs,
Eyeless In Gaza,
Brand Nubian,
Bluetip,
Yazoo,
Section 25,
The Dirtbombs,
Nirvana,
The Gap Band,
Scientists,
the Swans,
the Association,
Intrusion,
Mad Mike,
Alphaville,
Bob Dylan,
Grandmaster Flash and the Furious Five,
Bush Tetras,
The Trojans,
Connie Case,
MDC,
Public Image Ltd.,
The Cowsills,
Swans,
Dennis Brown,
The Sound,
kango's stein massive,
the Fania All-Stars,
Japan,
Aural Exciters,
The Motions,
The Music Machine,
Bootsy Collins,
Althea and Donna,
Strawberry Alarm Clock,
Outsiders,
Deutsch Amerikanische Freundschaft,
Marmalade,
Shuggie Otis,
Harry Pussy,
Darondo,
Kool Moe Dee,
a-ha,
The West Coast Pop Art Experimental Band,
Kauko Röyhkä ja Narttu,
Bobbi Humphrey,
Organ, Organ, Organ, Organ.
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.