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 Iraq and from Columbus.
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 1967 to 1972.
I'm losing my edge.
To all the kids in Lagos and Madrid.
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 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the arpeggiator 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 48th St. Collective to the electroclash 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 Black Pus. All the underground hits.
All Sound Behaviour tracks. I heard you have a vinyl of every Tears for Fears 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 '70s cut and another box set from the '70s.
I hear you're buying a guitar and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The Moleskins record.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Althea and Donna,
The Birthday Party,
Warren Ellis,
Chrome,
The J.B.'s,
Lucky Dragons,
Flipper,
James White and The Blacks,
Flash Fearless,
Morten Harket,
Black Moon,
Sound Behaviour,
ABBA,
Alton Ellis,
Lindisfarne,
Electric Light Orchestra,
Gang Green,
The Mojo Men,
Kerri Chandler,
Jeff Mills,
Steve Hackett,
Junior Murvin,
Marshall Jefferson,
Donny Hathaway,
Skriet,
Eden Ahbez,
Richard Hell and the Voidoids,
Eli Mardock,
London Community Gospel Choir,
Quadrant,
John Cale,
The Happenings,
Dawn Penn,
Blake Baxter,
The Saints,
Deakin,
The Associates,
Sly & The Family Stone,
Howard Jones,
Soulsonic Force,
The Monks,
Public Image Ltd.,
The Gun Club,
Thee Headcoats,
Reuben Wilson,
Oblivians,
Motorama,
Tommy Roe,
Eve St. Jones,
Yazoo,
Danielle Patucci,
Brand Nubian,
The Toasters,
Vaughan Mason & Crew,
Ponytail,
Television,
Drexciya,
The Mighty Diamonds,
Super Lover Cee & Casanova Rud,
Girls At Our Best!,
Rapeman,
EPMD, EPMD, EPMD, EPMD.
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.