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 Hungary and from Cairo.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle 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 1967 to 1972.
I'm losing my edge.
To all the kids in Mumbai and Salvador.
I'm losing my edge to the art-school Toronto 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 1976 at the first Chic practice in a loft in New York.
I was working on the oboe sounds with much patience.
I was there when Robert Palmer 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 The United States of America to the punk 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 Bad Manners. All the underground hits.
All Magazine tracks. I heard you have a vinyl of every Dave Gahan record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a The Real Kids record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Visage,
Nils Olav,
Donald Byrd,
Rites of Spring,
Basic Channel,
Sam Rivers,
Minny Pops,
Mars,
The Trojans,
Accadde A,
Subhumans,
cv313,
Boredoms,
New Order,
Cluster,
Ken Boothe,
Boz Scaggs,
Joe Smooth,
Country Joe & The Fish,
In Retrospect,
Ossler,
Max Romeo,
Interpol,
Livin' Joy,
The Victims,
Qualms,
The Mighty Diamonds,
Harry Pussy,
8 Eyed Spy,
Avey Tare & Kría Brekkan,
Marine Girls,
Popol Vuh,
The Residents,
Aswad,
Marc Almond,
Sunsets and Hearts,
Eyeless In Gaza,
The Mojo Men,
The Buckinghams,
The Young Rascals,
The Mummies,
Absolute Body Control,
Marshall Jefferson,
Maleditus Sound,
The United States of America,
Jacob Miller,
Peter & Gordon,
Public Image Ltd.,
Fort Wilson Riot,
Bang on a Can All-Stars,
The Sonics,
The Pretty Things,
Hashim,
The Busters,
Vaughan Mason & Crew,
Soft Cell,
Bizarre Inc.,
Dorothy Ashby,
Suicide,
Aloha Tigers,
Barclay James Harvest, Barclay James Harvest, Barclay James Harvest, Barclay James Harvest.
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.