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 Lesotho and from Jakarta.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1971.
I'm losing my edge.
To all the kids in Columbus and Lyon.
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 sitar 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 The Mojo Men to the grunge 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 The Walker Brothers. All the underground hits.
All Stetsasonic tracks. I heard you have a vinyl of every Wire 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 '50s cut and another box set from the '90s.
I hear you're buying a guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a The Dead C record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Notorious BIG live in Amsterdam,
Aswad,
Index,
Yazoo,
Pylon,
Country Joe & The Fish,
Rakim,
Supertramp,
Fat Boys,
Beasts of Bourbon,
La Düsseldorf,
It's A Beautiful Day,
Michelle Simonal,
Unrelated Segments,
Skaos,
Young Marble Giants,
Kurtis Blow,
Ituana,
Sun Ra Arkestra,
Kas Product,
David McCallum,
The Real Kids,
Spandau Ballet,
The Smiths,
Little Man,
48th St. Collective,
The Mighty Diamonds,
Chris Corsano,
Popol Vuh,
Donny Hathaway,
Dark Day,
Prince Buster,
The Monochrome Set,
Malaria!,
Eyeless In Gaza,
Minnie Riperton,
The American Breed,
Larry & the Blue Notes,
The Trojans,
Robert Wyatt,
UT,
Jesper Dahlback,
Model 500,
The Searchers,
John Cale,
Agent Orange,
R.M.O.,
Hardrive,
Nas,
Joy Division,
Rufus Thomas,
The Electric Prunes,
Negative Approach,
Masters at Work,
Major Organ And The Adding Machine,
Notorious Big And Bone Thugs,
Jacques Brel,
Jeru the Damaja,
Isaac Hayes,
Grandmaster Flash,
Minor Threat,
Gichy Dan,
Newcleus,
Roxette, Roxette, Roxette, Roxette.
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.