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 Papua New Guinea and from Manchester.
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 1967 to 1977.
I'm losing my edge.
To all the kids in Bremen and Woodstock.
I'm losing my edge to the art-school Stockholm 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 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the harpsichord sounds with much patience.
I was there when Lou Reed 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 June of 44 to the electroclash 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 Mars. All the underground hits.
All Zero Boys tracks. I heard you have a vinyl of every The Pretty Things record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Young Marble Giants,
Oblivians,
John Foxx,
Oppenheimer Analysis,
Yusef Lateef,
Harpers Bizarre,
The Remains,
Hashim,
The J.B.'s,
Minor Threat,
Cybotron,
R.M.O.,
Man Parrish,
Scientists,
Heaven 17,
Kayak,
Louis and Bebe Barron,
Electric Prunes,
The Real Kids,
Jesper Dahlback,
Accadde A,
Brass Construction,
Technova,
The Fall,
48th St. Collective,
Pharaoh Sanders and the Fire Engines,
The West Coast Pop Art Experimental Band,
Arab on Radar,
Pole,
Danielle Patucci,
Motorama,
Archie Shepp,
Quadrant,
Peter and Kerry,
Liaisons Dangereuses,
Red Lorry Yellow Lorry,
The Monks,
Panda Bear,
Ralphi Rosario,
Electric Light Orchestra,
Mo-Dettes,
Moss Icon,
Shoche,
Mantronix,
Todd Rundgren,
Brick,
New Age Steppers,
Porter Ricks,
Outsiders,
Bootsy's Rubber Band,
The Techniques,
Depeche Mode,
Strawberry Alarm Clock,
Theoretical Girls,
Sällskapet,
Amazonics,
B.T. Express,
Ornette Coleman,
The Pop Group,
Public Image Ltd.,
Basic Channel, Basic Channel, Basic Channel, Basic Channel.
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.