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 Oman and from Beijing.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Delhi and Salvador.
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 1978 at the first Visage practice in a loft in London.
I was working on the 808 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 Radio Birdman to the techno kids.
I played it at the Hacienda.
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 LL Cool J. All the underground hits.
All The Remains tracks. I heard you have a vinyl of every Captain Beefheart & His Magic Band 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 '60s cut and another box set from the '90s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Eric Dolphy record.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neil Young & Crazy Horse,
The Gun Club,
Glambeats Corp.,
Scratch Acid,
Oneida,
Jerry Gold Smith,
The West Coast Pop Art Experimental Band,
Black Moon,
Tomorrow,
The Kinks,
FM Einheit,
Rosa Yemen,
Lou Reed & Metallica,
London Community Gospel Choir,
Public Enemy,
Sun Ra,
Tommy Roe,
Liaisons Dangereuses,
the Human League,
The Offenders,
Bill Near,
Suicide,
Sandy B,
Erykah Badu,
Girls At Our Best!,
Sällskapet,
Juan Atkins,
Sparks,
The United States of America,
K-Klass,
Joensuu 1685,
Captain Beefheart & His Magic Band,
Nick Cave & The Bad Seeds,
Notorious Big And Bone Thugs,
Adolescents,
Gichy Dan,
Robert Hood,
Masters at Work,
It's A Beautiful Day,
Fifty Foot Hose,
The Royal Family And The Poor,
The Happenings,
Surgeon,
Warren Ellis,
Soft Machine,
Eric B and Rakim,
Easy Going,
Con Funk Shun,
Pylon,
Matthew Halsall,
The Fortunes,
Siouxsie and the Banshees,
Can,
Heavy D & The Boyz,
Bush Tetras,
The Victims,
The Moleskins,
Sarah Menescal,
Nirvana,
Moebius,
Ludus,
JFA,
Section 25, Section 25, Section 25, Section 25.
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.