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 Cuba and from Glasgow.
But I was there.
I was there in .
I was there at the first Suicide show in New York.
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 1970.
I'm losing my edge.
To all the kids in New York and New York.
I'm losing my edge to the art-school Beijing 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the güiro sounds with much patience.
I was there when David Bowie 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 Charles Mingus to the disco kids.
I played it at the Crocodile.
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 Tears for Fears. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every Warsaw record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Erasure 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 Human League,
Andrew Hill,
Harpers Bizarre,
Stiv Bators,
Oppenheimer Analysis,
The Gun Club,
Max Romeo,
Soul II Soul,
Glambeats Corp.,
Brass Construction,
Agitation Free,
Malaria!,
Lebanon Hanover,
Anthony Braxton,
The Sisters of Mercy,
Chrome,
Beasts of Bourbon,
Radio Birdman,
The Vogues,
Aswad,
Depeche Mode,
This Heat,
Sound Behaviour,
Moby Grape,
Pharaoh Sanders and the Fire Engines,
FM Einheit,
Public Enemy,
The Detroit Cobras,
Niagra,
Wolf Eyes,
It's A Beautiful Day,
Throbbing Gristle,
Essential Logic,
Deutsch Amerikanische Freundschaft,
Popol Vuh,
The Happenings,
Alphaville,
Scientists,
Saccharine Trust,
The Red Krayola,
The Doors,
R.M.O.,
Tommy Roe,
The Trojans,
Joey Negro,
Angry Samoans,
Unrelated Segments,
Accadde A,
the Bar-Kays,
Pulsallama,
Bad Manners,
Amon Düül II,
The Victims,
Maleditus Sound,
The Moody Blues,
Ultravox,
Fifty Foot Hose,
Marshall Jefferson,
Minny Pops,
Jeff Mills,
David McCallum, David McCallum, David McCallum, David McCallum.
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.