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 Cambodia and from Sao Paulo.
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 1968 to 1978.
I'm losing my edge.
To all the kids in Madrid and Bologna.
I'm losing my edge to the art-school Accra 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 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer sounds with much patience.
I was there when Captain Beefheart 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 Mr. Review to the grunge kids.
I played it at Trash.
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 Jeff Mills. All the underground hits.
All David McCallum tracks. I heard you have a vinyl of every Derrick May record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a linndrum and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Los Fastidios record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Echo & the Bunnymen,
Siouxsie and the Banshees,
The Associates,
Popol Vuh,
The Invisible,
Neu!,
Bang On A Can,
Saccharine Trust,
Scientists,
The Move,
Model 500,
Angry Samoans,
Loose Ends,
Joey Negro,
The Black Dice,
Avey Tare,
The Blackbyrds,
James White and The Blacks,
Red Lorry Yellow Lorry,
Marvin Gaye,
Joensuu 1685,
Panda Bear,
Glambeats Corp.,
David Axelrod,
The Happenings,
T.S.O.L.,
The Doors,
Sam Rivers,
John Holt,
Oneida,
Organ,
Nick Fraelich,
Magazine,
The Pop Group,
JFA,
The Moody Blues,
Roxy Music,
Au Pairs,
Ohio Players,
The Smoke,
Juan Atkins,
Television,
Frankie Knuckles,
Andrew Ashong & Theo Parrish,
The Searchers,
David McCallum,
World's Most,
Lucky Dragons,
Blancmange,
Mo-Dettes,
Wings,
Youth Brigade,
Eddi Front,
Bobby Sherman,
Y Pants,
Tropical Tobacco,
Heaven 17,
Moebius,
Boogie Down Productions,
Nick Cave & The Bad Seeds,
Iggy Pop,
Babytalk, Babytalk, Babytalk, Babytalk.
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.