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 Mexico City.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1974.
I'm losing my edge.
To all the kids in Salvador and Lyon.
I'm losing my edge to the art-school Jakarta 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the linndrum sounds with much patience.
I was there when Tom Verlaine 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 Minor Threat to the jazz 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 Saccharine Trust. All the underground hits.
All Joe Smooth tracks. I heard you have a vinyl of every New Order record on German import.
I heard that you have a white label of every seminal funk 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 spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Alphaville record.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator 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 Sisters of Mercy,
Kango’s Stein Massive,
Terrestrial Tones,
David Axelrod,
Underground Resistance,
Ralphi Rosario,
Subhumans,
Bronski Beat,
Jesper Dahlbäck,
The Smoke,
Marc Almond,
The Peanut Butter Conspiracy,
Jawbox,
Metal Thangz,
Quando Quango,
The Kinks,
Interpol,
Supertramp,
Malaria!,
Echo & the Bunnymen,
Crime,
The Monks,
Carl Craig,
The Chocolate Watch Band,
kango's stein massive,
Reuben Wilson,
Pere Ubu,
the Human League,
Neil Young & Crazy Horse,
Matthew Halsall,
Erykah Badu,
Roxette,
Vainqueur,
Con Funk Shun,
The Smiths,
10cc,
Mo-Dettes,
Junior Murvin,
Brothers Johnson,
The Slackers,
Jesper Dahlback,
The Neon Judgement,
PIL,
Crispy Ambulance,
Alison Limerick,
Gastr Del Sol,
June Days,
The Human League,
Moby Grape,
Parry Music,
Tomorrow,
The Skatalites,
Matthew Bourne,
The Five Americans,
The Sound,
Niagra,
Hardrive,
Q65,
Ludus,
Lalann,
Blancmange,
D'Angelo,
Sandy B,
David Bowie, David Bowie, David Bowie, David Bowie.
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.