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 Tajikistan and from Paris.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1976.
I'm losing my edge.
To all the kids in Delhi and Edmonton.
I'm losing my edge to the art-school Sao Paulo 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the sitar 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 LL Cool J to the techno kids.
I played it at the Hacienda.
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 The Move. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every Echospace record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Marc Almond record.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Wells,
Eurythmics,
The Motions,
U.S. Maple,
Con Funk Shun,
Kerrie Biddell,
Sonic Youth,
Thinking Fellers Union Local 282,
Dr. Dre and Snoop Doggy Dog,
the Human League,
Ronnie Foster,
Gang Gang Dance,
Black Flag,
Lee Hazlewood,
The Divine Comedy,
Rotary Connection,
KRS-One,
Thompson Twins,
Quando Quango,
Bobby Byrd,
Avey Tare,
Wings,
Nils Olav,
Essential Logic,
Jacques Brel,
Basic Channel,
Fat Boys,
Angels of Light & Akron/Family,
Average White Band,
Country Teasers,
Donny Hathaway,
E-Dancer,
The Walker Brothers,
Talk Talk,
Flipper,
John Lydon,
K-Klass,
D'Angelo,
Newcleus,
X-Ray Spex,
Sexual Harrassment,
The Mummies,
Josef K,
R.M.O.,
Amon Düül,
Minny Pops,
The Doors,
Flamin' Groovies,
Blancmange,
Pole,
Mo-Dettes,
the Bar-Kays,
cv313,
Bronski Beat,
Schoolly D,
Dark Day,
John Cale,
Hardrive,
Half Japanese,
Roxy Music,
Dorothy Ashby,
David Axelrod,
The Last Poets,
Black Moon, Black Moon, Black Moon, Black Moon.
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.