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 Copenhagen.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Cairo.
I'm losing my edge to the art-school Houston 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 1967 at the first Rodriguez practice in a loft in Detroit.
I was working on the linndrum sounds with much patience.
I was there when Lou Reed 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 Urselle to the grime kids.
I played it at the Roxy.
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 Dual Sessions. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Soul Sonic Force record on German import.
I heard that you have a white label of every seminal funk 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 spring reverb and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a The Walker Brothers record.
I hear that you and your band have sold your organ and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought an organ.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Mark Hollis,
The Martian,
Wally Richardson,
Accadde A,
World's Most,
B.T. Express,
Sexual Harrassment,
U.S. Maple,
Public Enemy,
Kas Product,
Arab on Radar,
Toni Rubio,
Dark Day,
Monolake,
Rod Modell,
Spandau Ballet,
Roy Ayers Ubiquity,
ABBA,
Black Pus,
Sandy B,
Index,
OOIOO,
Ralphi Rosario,
Avey Tare & Kría Brekkan,
Bush Tetras,
The Human League,
Mary Jane Girls,
Jeru the Damaja,
Brick,
Piero Umiliani,
Babytalk,
Neil Young & Crazy Horse,
The Grass Roots,
Malaria!,
Terrestrial Tones,
Colin Newman,
the Association,
Joy Division,
Avey Tare's Slasher Flicks,
Crash Course in Science,
Juan Atkins,
Scott Walker,
Soft Cell,
Cal Tjader,
Angry Samoans,
Average White Band,
The Moleskins,
Yusef Lateef,
Amazonics,
Tim Buckley,
Alphaville,
Amon Düül,
Johnny Osbourne,
Roxette,
Dave Gahan,
Black Flag,
Terry Callier,
Agent Orange,
DJ Style,
Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft, Deutsch Amerikanische Freundschaft.
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.