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 Zambia and from Mexico City.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1968 to 1970.
I'm losing my edge.
To all the kids in Glasgow and Manchester.
I'm losing my edge to the art-school Lille 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the 808 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 Depeche Mode to the rock kids.
I played it at the Troubador.
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 Ossler. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Tropical Tobacco record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a sitar and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Lou Reed & John Cale record.
I hear that you and your band have sold your marimba and bought an oboe.
I hear that you and your band have sold your oboe and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nils Olav,
Archie Shepp,
Country Teasers,
David Bowie,
Glambeats Corp.,
Major Organ And The Adding Machine,
Gil Scott Heron,
Brick,
Deepchord,
Richard Hell and the Voidoids,
Crispy Ambulance,
The Selecter,
The Blackbyrds,
The Stooges,
The Mummies,
Average White Band,
Little Man,
Qualms,
Radiopuhelimet,
Gian Franco Pienzio,
The Barracudas,
Selector Dub Narcotic,
Sex Pistols,
Jeru the Damaja,
Royal Trux,
Electric Prunes,
Byron Stingily,
Kool G Rap & DJ Polo,
Soul II Soul,
Pussy Galore,
Althea and Donna,
Tears for Fears,
The Residents,
The Electric Prunes,
Kool Moe Dee,
Kaleidoscope,
The Cure,
X-Ray Spex,
The Peanut Butter Conspiracy,
Joe Smooth,
The Busters,
Liliput,
The Monks,
Camberwell Now,
Black Bananas,
Make Up,
the Normal,
Ohio Players,
Gang Gang Dance,
Swell Maps,
The Knickerbockers,
Eyeless In Gaza,
Siglo XX,
The Martian,
These Immortal Souls,
June of 44,
Das Ding,
Desert Stars,
It's A Beautiful Day,
Derrick Morgan,
Boogie Down Productions, Boogie Down Productions, Boogie Down Productions, Boogie Down Productions.
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.