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 Egypt and from London.
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 1966 to 1970.
I'm losing my edge.
To all the kids in Edmonton and Bremen.
I'm losing my edge to the art-school Taipei 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the synthesizer 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 Jerry Gold Smith to the disco 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 La Düsseldorf. All the underground hits.
All The Birthday Party tracks. I heard you have a vinyl of every Frankie Knuckles record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Hardrive record.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moody Blues,
DNA,
Larry & the Blue Notes,
Scion,
Hot Snakes,
Lee Hazlewood,
John Foxx,
Public Image Ltd.,
KRS-One,
Boredoms,
Arthur Verocai,
Interpol,
Tears for Fears,
Red Lorry Yellow Lorry,
The Gap Band,
Notorious Big And Bone Thugs,
Newcleus,
Livin' Joy,
Nils Olav,
Thee Headcoats,
Rod Modell,
Donald Byrd,
Henry Cow,
Pere Ubu,
Pussy Galore,
The Buckinghams,
CMW,
Grandmaster Flash,
Chris & Cosey,
Ohio Players,
Aural Exciters,
Max Romeo,
One Last Wish,
Ultravox,
The Young Rascals,
Japan,
Cluster,
Y Pants,
Ice-T,
Peter Gordon & Love of Life Orchestra,
Unwound,
The Smiths,
Justin Hinds & The Dominoes,
Soft Cell,
The Fuzztones,
Agent Orange,
Motorama,
The Associates,
Second Layer,
Thompson Twins,
Althea and Donna,
Dawn Penn,
Unrelated Segments,
Robert Görl,
Bobby Womack,
Au Pairs,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Wolf Eyes,
Average White Band,
The Saints, The Saints, The Saints, The Saints.
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.