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 Liechtenstein and from Tokyo.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Madrid.
I'm losing my edge to the art-school Lagos 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the snare sounds with much patience.
I was there when Holger Czukay 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 Mark Hollis to the crunk kids.
I played it at the Astoria.
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 John Foxx. All the underground hits.
All Con Funk Shun tracks. I heard you have a vinyl of every The Velvet Underground 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 '70s cut and another box set from the '80s.
I hear you're buying a harpsichord and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Nick Cave & The Bad Seeds record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wings,
Marc Romboy vs. Booka Shade,
Eric B and Rakim,
Freddie Wadling,
ABBA,
Ten City,
Delon & Dalcan,
Jimmy McGriff,
Technova,
Lonnie Liston Smith,
Siouxsie and the Banshees,
Intrusion,
the Human League,
The Peanut Butter Conspiracy,
Mad Mike,
Andrew Ashong & Theo Parrish,
Kenny Larkin,
Flash Fearless,
Scrapy,
Gang Gang Dance,
Scan 7,
Major Organ And The Adding Machine,
Adolescents,
Sun Ra Arkestra,
Lower 48,
Ituana,
The Modern Lovers,
Blossom Toes,
The Toasters,
the Swans,
Man Parrish,
K-Klass,
Barry Ungar,
Neil Young,
Gary Puckett & The Union Gap,
Lindisfarne,
Rhythm & Sound,
Nick Fraelich,
The Busters,
The Electric Prunes,
In Retrospect,
Reagan Youth,
Cameo,
Altered Images,
Gregory Isaacs,
Marc Almond,
Neil Young & Crazy Horse,
Amazonics,
This Heat,
Minor Threat,
Sight & Sound,
Gang of Four,
Main Source,
The Searchers,
Jacob Miller,
James Chance & The Contortions,
The Moody Blues,
Brick,
Magazine,
The Pop Group,
Massinfluence,
Negative Approach,
Icehouse, Icehouse, Icehouse, Icehouse.
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.