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 Estonia and from Bremen.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1970.
I'm losing my edge.
To all the kids in Cairo and Mumbai.
I'm losing my edge to the art-school Taipei 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 chamberlin 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 Skaos to the rap kids.
I played it at the Troubador.
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 John Foxx. All the underground hits.
All the Soft Cell tracks. I heard you have a vinyl of every Joe Smooth 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 '50s cut and another box set from the '80s.
I hear you're buying a spring reverb and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Man Eating Sloth record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Technova,
Mantronix,
Soul II Soul,
The Happenings,
Magazine,
Suicide,
Bush Tetras,
Lonnie Liston Smith,
The Fire Engines,
D'Angelo,
OOIOO,
Donald Byrd,
Derrick May,
Patti Smith,
Radio Birdman,
Marmalade,
L. Decosne,
The Music Machine,
Roxette,
Darondo,
Half Japanese,
Grandmaster Flash,
JFA,
Peter and Kerry,
These Immortal Souls,
Heaven 17,
Angels of Light & Akron/Family,
Aloha Tigers,
Jeff Lynne,
Rotary Connection,
Lyres,
The Stooges,
Lou Reed & John Cale,
Lakeside,
Dave Gahan,
Stereo Dub,
Mad Mike,
Eric Copeland,
Kaleidoscope,
The Alarm Clocks,
The Jesus and Mary Chain,
La Düsseldorf,
kango's stein massive,
Eurythmics,
Gerry Rafferty,
Symarip,
Maleditus Sound,
Dark Day,
Delon & Dalcan,
Swans,
China Crisis,
The Pop Group,
Todd Rundgren,
Duran Duran,
The Cowsills,
Amazonics,
Lee Hazlewood,
Gian Franco Pienzio,
Röyhkä ja Rättö ja Lehtisalo,
the Fania All-Stars,
Echospace,
Mark Hollis,
The Zeros,
the Bar-Kays,
ABBA, ABBA, ABBA, ABBA.
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.