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 Paraguay and from Bologna.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1970.
I'm losing my edge.
To all the kids in Salvador and Cairo.
I'm losing my edge to the art-school Shanghai 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 rhodes sounds with much patience.
I was there when Lou Reed 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 Michelle Simonal to the punk kids.
I played it at Cafe Wha.
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 Inner City. All the underground hits.
All Liaisons Dangereuses tracks. I heard you have a vinyl of every Minnie Riperton record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Dr. Dre and Snoop Doggy Dog record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q65,
Prince Buster,
Pharoah Sanders,
Monolake,
Mo-Dettes,
Pulsallama,
Ultimate Spinach,
Black Bananas,
Avey Tare's Slasher Flicks,
Niagra,
Peter & Gordon,
Susan Cadogan,
Clear Light,
Marshall Jefferson,
Angels of Light & Akron/Family,
Main Source,
Jerry's Kids,
Jacques Brel,
Eric Dolphy,
Fear,
The Birthday Party,
Outsiders,
Saccharine Trust,
John Cale,
Delon & Dalcan,
Jeff Mills,
Kango’s Stein Massive,
Hot Snakes,
The Dave Clark Five,
This Heat,
Glenn Branca,
Wire,
Marcia Griffiths,
Marvin Gaye,
Ultramagnetic MC's,
Flipper,
Quantec,
Public Image Ltd.,
X-102,
Heavy D & The Boyz,
Boz Scaggs,
Lalo Schifrin,
Swell Maps,
Minnie Riperton,
Simply Red,
Spandau Ballet,
June Days,
Junior Murvin,
Marine Girls,
The Cosmic Jokers,
B.T. Express,
Major Organ And The Adding Machine,
Grandmaster Flash and the Furious Five,
Robert Görl,
Rotary Connection,
Con Funk Shun,
Kas Product,
Marc Romboy vs. Booka Shade,
Rowland S Howard / Lydia Lunch,
A Flock of Seagulls,
David Axelrod,
Section 25,
Nico,
The Moody Blues, The Moody Blues, The Moody Blues, The Moody Blues.
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.