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 Lebanon and from Woodstock.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Taipei and Manchester.
I'm losing my edge to the art-school Tehran 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the güiro sounds with much patience.
I was there when Captain Beefheart 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 Gang of Four to the punk 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 Eric B and Rakim. All the underground hits.
All Guru Guru tracks. I heard you have a vinyl of every FM Einheit record on German import.
I heard that you have a white label of every seminal rock 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 harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Echo & the Bunnymen record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Offenders,
Tom Boy,
cv313,
the Fania All-Stars,
Kango’s Stein Massive,
Mr. Review,
Arcadia,
Lou Reed,
Hardrive,
The Busters,
Aural Exciters,
Bill Wells,
The Cure,
The Doobie Brothers,
The Zeros,
Delta 5,
Pantaleimon,
Andrew Hill,
Alison Limerick,
the Germs,
Roger Hodgson,
Arthur Verocai,
The Music Machine,
Quantec,
Magazine,
Q and Not U,
Warren Ellis,
Beasts of Bourbon,
Isaac Hayes,
Amon Düül,
The Moody Blues,
The Tremeloes,
Nik Kershaw,
The Divine Comedy,
Absolute Body Control,
Connie Case,
Louis and Bebe Barron,
Jerry's Kids,
Yusef Lateef,
Eli Mardock,
Neu!,
Clear Light,
Dave Gahan,
Unrelated Segments,
The Neon Judgement,
Thompson Twins,
Byron Stingily,
Tomorrow,
Lindisfarne,
Larry & the Blue Notes,
Deakin,
Zapp,
Jacob Miller,
Rotary Connection,
Letta Mbulu,
Parry Music,
Danielle Patucci,
Royal Trux,
a-ha,
Flipper,
Stereo Dub, Stereo Dub, Stereo Dub, Stereo Dub.
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.