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 St Kitts & Nevis and from Mumbai.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1970.
I'm losing my edge.
To all the kids in Spokane and Copenhagen.
I'm losing my edge to the art-school Woodstock 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 Zapp practice in a loft in Hamilton.
I was working on the oboe sounds with much patience.
I was there when Lou Reed 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 Nas to the techno 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 The Sound. All the underground hits.
All Glambeats Corp. tracks. I heard you have a vinyl of every Morten Harket record on German import.
I heard that you have a white label of every seminal dance 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 808 and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Marvin Gaye record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Velvet Underground,
Visage,
Eden Ahbez,
The Divine Comedy,
CMW,
Nico,
The Buckinghams,
Theoretical Girls,
Jawbox,
Infiniti,
Nik Kershaw,
Wasted Youth,
Matthew Halsall,
It's A Beautiful Day,
Outsiders,
Fluxion,
Nils Olav,
Richard Hell and the Voidoids,
Whodini,
London Community Gospel Choir,
Lou Christie,
Curtis Mayfield,
The Pop Group,
Half Japanese,
Vainqueur,
Saccharine Trust,
Eve St. Jones,
The Real Kids,
Junior Murvin,
Hardrive,
Make Up,
Ornette Coleman,
The Tremeloes,
10cc,
Joe Smooth,
New Age Steppers,
Barrington Levy,
Bauhaus,
Orchestral Manoeuvres in the Dark,
The Remains,
Be Bop Deluxe,
Vaughan Mason & Crew,
The Searchers,
The Cramps,
Louis and Bebe Barron,
Suburban Knight,
Chrome,
Freddie Wadling,
Sam Rivers,
The Litter,
The Martian,
The Golliwogs,
Roy Ayers Ubiquity,
The Dead C,
The Evens,
Yazoo,
Bang On A Can,
Talk Talk,
Ultravox,
The Birthday Party,
LL Cool J,
Skaos, Skaos, Skaos, Skaos.
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.