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 Cape Verde and from Madrid.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Beijing and Taipei.
I'm losing my edge to the art-school Copenhagen 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 1978 at the first Visage practice in a loft in London.
I was working on the rhodes 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 Moby Grape to the dance kids.
I played it at the Troubador.
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 F. McDonald. All the underground hits.
All The Raincoats tracks. I heard you have a vinyl of every Gary Puckett & The Union Gap 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 '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Loose Ends record.
I hear that you and your band have sold your guitar and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fire Engines,
Reuben Wilson,
Roxette,
Deakin,
Mary Jane Girls,
Glambeats Corp.,
Basic Channel,
the Swans,
Joensuu 1685,
A Flock of Seagulls,
Warsaw,
Fifty Foot Hose,
Cecil Taylor,
Swell Maps,
Lebanon Hanover,
Crispian St. Peters,
The Cosmic Jokers,
Liliput,
Sound Behaviour,
Spoonie Gee,
Iggy Pop,
Brass Construction,
The Gladiators,
The Kinks,
Big Daddy Kane,
R.M.O.,
The Royal Family And The Poor,
the Slits,
Röyhkä ja Rättö ja Lehtisalo,
the Fania All-Stars,
The Seeds,
Sandy B,
Unrelated Segments,
H. Thieme,
Patti Smith,
The Modern Lovers,
Terrestrial Tones,
Super Lover Cee & Casanova Rud,
Dark Day,
Fugazi,
Excepter,
Ponytail,
The Smiths,
Blancmange,
Lalo Schifrin,
Marc Romboy vs. Booka Shade,
Jerry's Kids,
Y Pants,
Byron Stingily,
Funkadelic,
Qualms,
Larry & the Blue Notes,
The Evens,
Hoover,
The Invisible,
Monolake,
Major Organ And The Adding Machine,
Soul II Soul,
Deutsch Amerikanische Freundschaft,
Robert Görl,
The Smoke, The Smoke, The Smoke, The Smoke.
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.