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 Kuwait and from Johannesburg.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1975.
I'm losing my edge.
To all the kids in Johannesburg and Lyon.
I'm losing my edge to the art-school Bremen 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the linndrum sounds with much patience.
I was there when Robert Palmer 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 techno 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 Harpers Bizarre. All the underground hits.
All The Sisters of Mercy tracks. I heard you have a vinyl of every Andrew Hill record on German import.
I heard that you have a white label of every seminal crunk 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 linndrum and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your guitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Selector Dub Narcotic,
Magazine,
Porter Ricks,
Bush Tetras,
Barry Ungar,
Stockholm Monsters,
Sly & The Family Stone,
Jesper Dahlbäck,
Monolake,
The Alarm Clocks,
Yaz,
Zero Boys,
The Index,
Roxette,
Metal Thangz,
Marshall Jefferson,
Siglo XX,
DNA,
Sister Nancy,
Moebius,
Ultimate Spinach,
Scrapy,
The Slits,
Hot Snakes,
Absolute Body Control,
Donald Byrd,
Lower 48,
Smog,
Vainqueur,
Hoover,
Jeff Lynne,
cv313,
Mars,
Joe Finger,
Mantronix,
Joy Division,
Supertramp,
Mark Hollis,
Babytalk,
UT,
Trumans Water,
Scion,
Davy DMX,
Faust,
Notorious BIG live in Amsterdam,
Nation of Ulysses,
Echo & the Bunnymen,
Brick,
La Düsseldorf,
Gang Green,
Dave Gahan,
Max Romeo,
Stereo Dub,
Fluxion,
Delon & Dalcan,
Larry & the Blue Notes,
Flamin' Groovies,
Animal Collective,
Ajijia Myrayebe,
Vaughan Mason & Crew,
Man Parrish,
The Young Rascals,
Fat Boys, Fat Boys, Fat Boys, Fat Boys.
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.