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 Sudan and from Tokyo.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1964 to 1978.
I'm losing my edge.
To all the kids in Manchester and Bremen.
I'm losing my edge to the art-school Beijing 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 1977 at the first Mistral practice in a loft in Amsterdam.
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 The Move to the electroclash kids.
I played it at the 40 Watt.
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 Sad Lovers and Giants. All the underground hits.
All Sun City Girls tracks. I heard you have a vinyl of every Neil Young & Crazy Horse record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Marc Romboy vs. Booka Shade record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tom Boy,
Letta Mbulu,
Joensuu 1685,
Davy DMX,
Johnny Clarke,
Sällskapet,
Dead Boys,
Pussy Galore,
Agitation Free,
John Lydon,
Big Daddy Kane,
Technova,
Ituana,
Sight & Sound,
Sarah Menescal,
Mars,
Scan 7,
MDC,
Deepchord,
Black Sheep,
Joy Division,
Notorious BIG live in Amsterdam,
Drive Like Jehu,
Ultramagnetic MC's,
Maurizio,
Prince Buster,
Rosa Yemen,
Neil Young,
Fatback Band,
Von Mondo,
Boz Scaggs,
Jeru the Damaja,
Richard Hell and the Voidoids,
John Foxx,
Khruangbin,
Bronski Beat,
Joe Finger,
Sexual Harrassment,
Dual Sessions,
Hashim,
Steve Hackett,
Dave Gahan,
June Days,
Jeff Lynne,
Oppenheimer Analysis,
Sister Nancy,
Rhythim Is Rhythim,
Soft Machine,
Alphaville,
Vaughan Mason & Crew,
Lindisfarne,
B.T. Express,
Pet Shop Boys,
Dr. Dre and Snoop Doggy Dog,
Peter Gordon & Love of Life Orchestra,
Lyres,
The Slits,
The Victims,
Rhythm & Sound,
The Vogues,
Whodini,
Lalann,
The Alarm Clocks,
Supertramp, Supertramp, Supertramp, Supertramp.
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.