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 Zimbabwe 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 1961 to 1973.
I'm losing my edge.
To all the kids in Lyon and Taipei.
I'm losing my edge to the art-school Manchester 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 synthesizer 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 The Sisters of Mercy to the grime kids.
I played it at the Spitz.
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 Chris Corsano. All the underground hits.
All Nils Olav tracks. I heard you have a vinyl of every PIL 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 '80s.
I hear you're buying a guitar and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Red Lorry Yellow Lorry record.
I hear that you and your band have sold your chamberlin and bought a güiro.
I hear that you and your band have sold your güiro 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 Skatalites,
Erykah Badu,
Reuben Wilson,
Lou Christie,
Dave Gahan,
Chrome,
Sun Ra Arkestra,
The West Coast Pop Art Experimental Band,
The Standells,
Zapp,
The Gories,
Eric Copeland,
The Barracudas,
It's A Beautiful Day,
Liaisons Dangereuses,
Brass Construction,
Kerrie Biddell,
Robert Hood,
Oblivians,
Man Parrish,
Make Up,
Spoonie Gee,
The Durutti Column,
The Royal Family And The Poor,
Au Pairs,
Easy Going,
Jacob Miller,
Davy DMX,
Radio Birdman,
The Star Department,
Gong,
Roger Hodgson,
Yaz,
DNA,
The Peanut Butter Conspiracy,
Ronan,
Tears for Fears,
Minutemen,
Terrestrial Tones,
Oppenheimer Analysis,
Sexual Harrassment,
Judy Mowatt,
Gil Scott-Heron & Brian Jackson,
The American Breed,
Heaven 17,
FM Einheit,
De La Soul & Jungle Brothers,
Thompson Twins,
Amon Düül II,
Supertramp,
Pharaoh Sanders and the Fire Engines,
Althea and Donna,
The Mighty Diamonds,
Blake Baxter,
Bootsy Collins,
The Invisible,
Loose Ends,
Connie Case,
Pulsallama,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.