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 Korea South and from Shanghai.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Lyon and Lyon.
I'm losing my edge to the art-school Woodstock 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 1983 at the first Lewis practice in a loft in Vancouver.
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 Ice-T to the electroclash kids.
I played it at the Astoria.
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 Davy DMX. All the underground hits.
All Outsiders tracks. I heard you have a vinyl of every The Grass Roots record on German import.
I heard that you have a white label of every seminal dance 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 a linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your sitar and bought a 808.
I hear that you and your band have sold your 808 and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bush Tetras,
The Techniques,
Public Enemy,
The United States of America,
It's A Beautiful Day,
Electric Light Orchestra,
The Electric Prunes,
The Young Rascals,
Angels of Light & Akron/Family,
Aloha Tigers,
Orchestral Manoeuvres in the Dark,
Sandy B,
Guru Guru,
New York Dolls,
Hoover,
The Toasters,
Steve Hackett,
The Sound,
The Knickerbockers,
X-101,
The Birthday Party,
Basic Channel,
Pylon,
Infiniti,
Bobby Sherman,
The Cowsills,
John Coltrane,
Pere Ubu,
Gregory Isaacs,
Circle Jerks,
Porter Ricks,
Matthew Halsall,
Cabaret Voltaire,
Liaisons Dangereuses,
Rosa Yemen,
Jeru the Damaja,
Danielle Patucci,
The Slackers,
The Music Machine,
Y Pants,
Ronnie Foster,
Red Lorry Yellow Lorry,
The Fortunes,
Selector Dub Narcotic,
Idris Muhammad,
Niagra,
Reuben Wilson,
Al Stewart,
Fad Gadget,
The Count Five,
Subhumans,
Talk Talk,
Zapp,
Peter Gordon & Love of Life Orchestra,
Bad Manners,
Faraquet,
Flash Fearless,
Amon Düül II,
The Fuzztones,
K-Klass,
Sad Lovers and Giants,
The Seeds,
The Slits,
The Cure, The Cure, The Cure, The Cure.
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.