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 Oman and from Delhi.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1961 to 1974.
I'm losing my edge.
To all the kids in Winnipeg and Beijing.
I'm losing my edge to the art-school Tokyo 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the güiro 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 Nils Olav to the disco kids.
I played it at CBGB's.
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 Moby Grape. All the underground hits.
All Cluster tracks. I heard you have a vinyl of every The Gun Club record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a synthesizer and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Visage record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pole,
Bauhaus,
Kurtis Blow,
Liaisons Dangereuses,
The Blackbyrds,
Ice-T,
Warren Ellis,
Lakeside,
Wally Richardson,
Skaos,
Ossler,
June of 44,
The Kinks,
The Golliwogs,
Joe Smooth,
Inner City,
H. Thieme,
Faraquet,
Gichy Dan,
The Fire Engines,
Throbbing Gristle,
The Knickerbockers,
Ultra Naté,
Bizarre Inc.,
Avey Tare's Slasher Flicks,
Whodini,
Davy DMX,
The Leaves,
Amon Düül II,
In Retrospect,
Deadbeat,
Nas,
The Vogues,
The Sonics,
Swans,
Yusef Lateef,
Black Bananas,
Mo-Dettes,
Stockholm Monsters,
Eli Mardock,
Ultravox,
The Sisters of Mercy,
Stiv Bators,
Public Image Ltd.,
Essential Logic,
Harpers Bizarre,
Glambeats Corp.,
Pete Rock & C.L. Smooth,
Hoover,
Jerry's Kids,
Reagan Youth,
Circle Jerks,
Sandy B,
Procol Harum,
Moby Grape,
Lou Reed & John Cale,
DJ Style,
Lafayette Afro Rock Band,
Jawbox,
Peter & Gordon,
David McCallum, David McCallum, David McCallum, David McCallum.
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.