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 Australia and from Toronto.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Stockholm and Cairo.
I'm losing my edge to the art-school Salvador 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 1978 at the first Visage practice in a loft in London.
I was working on the spring reverb 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 Dave Gahan to the rock 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 Gang Starr. All the underground hits.
All The Motions tracks. I heard you have a vinyl of every Arthur Verocai record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a rhodes and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Flamin' Groovies record.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gang Gang Dance,
Robert Görl,
The Offenders,
The Cramps,
Vladislav Delay,
The Motions,
Larry & the Blue Notes,
Con Funk Shun,
Chris & Cosey,
Ultravox,
The Names,
Lou Reed & John Cale,
MC5,
Tropical Tobacco,
Essential Logic,
John Holt,
Little Man,
Fort Wilson Riot,
The Smoke,
New York Dolls,
B.T. Express,
Drive Like Jehu,
PIL,
Joe Smooth,
Cal Tjader,
Jesper Dahlbäck,
Sparks,
Dave Gahan,
The Move,
the Soft Cell,
The Monochrome Set,
Lightning Bolt,
Idris Muhammad,
Johnny Clarke,
Connie Case,
Warsaw,
Masters at Work,
Sun Ra Arkestra,
Index,
Flipper,
Bill Near,
Television,
Juan Atkins,
Kevin Saunderson,
Joyce Sims,
The Fuzztones,
Sight & Sound,
The Leaves,
Grauzone,
Electric Light Orchestra,
Barrington Levy,
DJ Sneak,
Pierre Henry,
Matthew Bourne,
Justin Hinds & The Dominoes,
Young Marble Giants,
The Selecter,
Jimmy McGriff,
Bad Manners,
The Toasters,
The Velvet Underground,
Lindisfarne,
Jeru the Damaja,
Cymande,
Faraquet, Faraquet, Faraquet, Faraquet.
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.