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 Bolivia and from Columbus.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1973.
I'm losing my edge.
To all the kids in Tokyo and Winnipeg.
I'm losing my edge to the art-school Cairo 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 1978 at the first Visage practice in a loft in London.
I was working on the harpsichord sounds with much patience.
I was there when Tom Verlaine 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 Remains to the jazz kids.
I played it at Trash.
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 David Bowie. All the underground hits.
All AZ 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 punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a David Axelrod record.
I hear that you and your band have sold your marimba and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
David Axelrod,
Sister Nancy,
a-ha,
The Flesh Eaters,
Steve Hackett,
Pussy Galore,
The Dirtbombs,
Gian Franco Pienzio,
Max Romeo,
Scratch Acid,
Basic Channel,
Hoover,
Deutsch Amerikanische Freundschaft,
Lou Reed & John Cale,
Ice-T,
The Techniques,
The Selecter,
Black Flag,
The Monks,
The Invisible,
The Buckinghams,
Johnny Clarke,
DNA,
Eve St. Jones,
Ten City,
Cecil Taylor,
B.T. Express,
Fort Wilson Riot,
Lower 48,
Eric B and Rakim,
Grandmaster Flash,
The Smiths,
Hasil Adkins,
Jawbox,
Lalo Schifrin,
Kerri Chandler,
Michelle Simonal,
Andrew Ashong & Theo Parrish,
Marc Romboy vs. Booka Shade,
John Lydon,
Bill Wells,
Grandmaster Flash and the Furious Five,
Babytalk,
Wolf Eyes,
The Associates,
Ultimate Spinach,
Terror Squad Feat. Camron,
Bill Near,
The Men They Couldn't Hang,
Gary Puckett & The Union Gap,
The Black Dice,
Deakin,
Frankie Knuckles,
Gregory Isaacs,
Agitation Free,
Richard Hell and the Voidoids,
Sound Behaviour,
Donald Byrd,
Monks,
Gerry Rafferty,
Tim Buckley,
Accadde A, Accadde A, Accadde A, Accadde A.
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.