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 Burundi and from Manchester.
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 1960 to 1973.
I'm losing my edge.
To all the kids in Madrid and Tehran.
I'm losing my edge to the art-school Paris 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the spring reverb sounds with much patience.
I was there when Donald Fagen 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 Negative Approach to the crunk kids.
I played it at the Crocodile.
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 Motorama. All the underground hits.
All Erasure tracks. I heard you have a vinyl of every Letta Mbulu record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The United States of America record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Skarface,
Jeff Lynne,
Procol Harum,
Rowland S Howard / Lydia Lunch,
Buzzcocks,
MDC,
Fifty Foot Hose,
Visionaries,LMNO, T- Love & Iriscience,
Avey Tare,
Masters at Work,
Stetsasonic,
John Cale,
Derrick Morgan,
Grauzone,
Sun Ra Arkestra,
Swans,
The Smiths,
Jesper Dahlbäck,
The Men They Couldn't Hang,
Scientists,
Traffic Nightmare,
Ossler,
Kool Moe Dee,
Kango’s Stein Massive,
Bauhaus,
Sällskapet,
Pagans,
The Busters,
Pole,
Mission of Burma,
Magazine,
The Pop Group,
De La Soul & Jungle Brothers,
Liliput,
Faust,
L. Decosne,
Althea and Donna,
John Foxx,
The Star Department,
The Dirtbombs,
The Peanut Butter Conspiracy,
The Doors,
Grandmaster Flash and the Furious Five,
The Happenings,
EPMD,
Saccharine Trust,
Sad Lovers and Giants,
Hoover,
Fort Wilson Riot,
Sound Behaviour,
Blancmange,
Camron Feat. Memphis Bleek And Beenie Seigel,
Japan,
The Five Americans,
Ultravox,
Kerri Chandler,
Wighnomy Brothers & Robag Wruhme,
Con Funk Shun,
Morten Harket,
Kurtis Blow,
the Soft Cell, the Soft Cell, the Soft Cell, the Soft Cell.
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.