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 Taiwan and from Cairo.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Salvador and Bologna.
I'm losing my edge to the art-school Hong Kong 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the harpsichord sounds with much patience.
I was there when Nile Rodgers 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 Mark Hollis to the dance kids.
I played it at CBGB's.
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 Swell Maps. All the underground hits.
All X-102 tracks. I heard you have a vinyl of every Oneida record on German import.
I heard that you have a white label of every seminal grunge 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 spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Simply Red record.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gong,
Technova,
the Association,
Red Lorry Yellow Lorry,
Sugar Minott,
Amon Düül,
Charles Mingus,
Public Image Ltd.,
Mr. Review,
Sällskapet,
Junior Murvin,
Jeff Lynne,
The Pop Group,
Sun City Girls,
Ronnie Foster,
The Standells,
Maurizio,
James Chance & The Contortions,
The Neon Judgement,
Tubeway Army,
Von Mondo,
Pole,
Rakim,
Cecil Taylor,
New York Dolls,
K-Klass,
Deutsch Amerikanische Freundschaft,
Gang of Four,
Can,
Laurel Aitken,
Terrestrial Tones,
Model 500,
Animal Collective,
Black Flag,
the Bar-Kays,
Sexual Harrassment,
Major Organ And The Adding Machine,
The Flesh Eaters,
Lafayette Afro Rock Band,
Neil Young,
Cybotron,
The Victims,
Brass Construction,
Bill Near,
Morten Harket,
Juan Atkins,
Index,
Sun Ra Arkestra,
Alison Limerick,
The Index,
Average White Band,
Vladislav Delay,
New Age Steppers,
Orchestral Manoeuvres in the Dark,
The West Coast Pop Art Experimental Band,
Thee Headcoats,
Sex Pistols,
Pete Rock & C.L. Smooth,
John Cale,
Bronski Beat,
The Moody Blues,
Dave Gahan, Dave Gahan, Dave Gahan, Dave Gahan.
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.