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 Estonia and from Madrid.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1977.
I'm losing my edge.
To all the kids in London and Salvador.
I'm losing my edge to the art-school Woodstock 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 1973 at the first Television practice in a loft in New York.
I was working on the synthesizer sounds with much patience.
I was there when Holger Czukay 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 Heavy D & The Boyz to the grunge kids.
I played it at the Spitz.
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 Popol Vuh. All the underground hits.
All Reagan Youth tracks. I heard you have a vinyl of every The Index 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 '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Hoover record.
I hear that you and your band have sold your synthesizer and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
U.S. Maple,
Urselle,
It's A Beautiful Day,
Dead Boys,
Simply Red,
Neu!,
Marc Almond,
Bobby Womack,
Dave Gahan,
Jacob Miller,
Television,
The Star Department,
Bill Near,
Ajijia Myrayebe,
Joe Smooth,
Avey Tare & Kría Brekkan,
The Men They Couldn't Hang,
The Dirtbombs,
the Slits,
Malaria!,
Wolf Eyes,
Fort Wilson Riot,
Siglo XX,
The Happenings,
Peter and Kerry,
Juan Atkins,
Gil Scott Heron,
Lizzy Mercier Descloux,
Unrelated Segments,
Angry Samoans,
The New Christs,
Grandmaster Flash and the Furious Five,
Pole,
Stetsasonic,
a-ha,
Cabaret Voltaire,
Maleditus Sound,
Supertramp,
Banda Bassotti,
Minnie Riperton,
Visage,
Marc Romboy vs. Booka Shade,
A Flock of Seagulls,
Al Stewart,
Moss Icon,
The Royal Family And The Poor,
Minutemen,
Max Romeo,
Goldenarms,
Dark Day,
Popol Vuh,
The Residents,
Basic Channel,
Radiopuhelimet,
Toni Rubio,
Jacques Brel,
T.S.O.L.,
Kas Product,
The Gun Club,
The Human League,
Cymande,
The Angels of Light,
Grey Daturas,
Glambeats Corp., Glambeats Corp., Glambeats Corp., Glambeats Corp..
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.