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 Australia and from Milan.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Madrid and London.
I'm losing my edge to the art-school Seoul 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 1987 at the first Nirvana practice in a loft in Seattle.
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 Deadbeat to the dance 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 Sad Lovers and Giants. All the underground hits.
All Drive Like Jehu tracks. I heard you have a vinyl of every Rites of Spring 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 '70s cut and another box set from the '90s.
I hear you're buying an oboe and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Amon Düül record.
I hear that you and your band have sold your arpeggiator and bought a 808.
I hear that you and your band have sold your 808 and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Byrd,
Popol Vuh,
Franke,
DJ Style,
The Royal Family And The Poor,
The Modern Lovers,
Strawberry Alarm Clock,
the Bar-Kays,
the Swans,
Curtis Mayfield,
Röyhkä ja Rättö ja Lehtisalo,
Public Image Ltd.,
Yellowson,
kango's stein massive,
Piero Umiliani,
Grauzone,
Charles Mingus,
Little Man,
Blake Baxter,
Rowland S Howard / Lydia Lunch,
The Sisters of Mercy,
Accadde A,
Bang On A Can,
Goldenarms,
Q65,
Chris Corsano,
The Slackers,
Quantec,
Eddi Front,
Model 500,
The Blues Magoos,
Isaac Hayes,
Bootsy's Rubber Band,
Deakin,
Urselle,
Bill Near,
Ludus,
Eric Copeland,
Deepchord,
Man Eating Sloth,
Suburban Knight,
Anakelly,
10cc,
Can,
It's A Beautiful Day,
Ultramagnetic MC's,
Black Flag,
Lou Christie,
Sister Nancy,
Newcleus,
Henry Cow,
The Mummies,
Pharaoh Sanders and the Fire Engines,
Young Marble Giants,
The Associates,
The Zeros,
Panda Bear,
Robert Wyatt,
Moebius,
Moby Grape,
Masters at Work,
Warren Ellis,
The Remains,
Janne Schatter, Janne Schatter, Janne Schatter, Janne Schatter.
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.