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 Croatia and from Glasgow.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1963 to 1974.
I'm losing my edge.
To all the kids in Manchester and Sao Paulo.
I'm losing my edge to the art-school Mexico City 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 mellotron 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 Misunderstood to the disco kids.
I played it at the Crocodile.
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 Section 25. All the underground hits.
All Brass Construction tracks. I heard you have a vinyl of every Newcleus record on German import.
I heard that you have a white label of every seminal electroclash 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 spring reverb and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a La Düsseldorf record.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mandrill,
Derrick Morgan,
The Gladiators,
10cc,
Shoche,
Peter and Kerry,
Aloha Tigers,
Eddi Front,
The Busters,
Teenage Jesus and the Jerks,
Sex Pistols,
The Wake,
Morten Harket,
It's A Beautiful Day,
Skriet,
Drive Like Jehu,
The Human League,
Simply Red,
The Doors,
Robert Görl,
Kevin Saunderson,
Sad Lovers and Giants,
Isaac Hayes,
Cal Tjader,
La Düsseldorf,
The Kinks,
Mr. Review,
The Moleskins,
Sixth Finger,
Minutemen,
Public Image Ltd.,
These Immortal Souls,
Delon & Dalcan,
The Stooges,
Yazoo,
Vainqueur,
The Electric Prunes,
The Chocolate Watch Band,
The Misunderstood,
Kauko Röyhkä ja Narttu,
Bang On A Can,
Reagan Youth,
Maleditus Sound,
Mars,
Television Personalities,
Ornette Coleman,
Ossler,
Q65,
Jerry Gold Smith,
The Evens,
Rekid,
Gregory Isaacs,
Silicon Teens,
Sun Ra Arkestra,
Yaz,
Anakelly,
The Mojo Men,
Aswad,
Scratch Acid,
Sarah Menescal,
The Dead C, The Dead C, The Dead C, The Dead C.
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.