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 Swaziland and from Bologna.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 Glasgow and Manchester.
I'm losing my edge to the art-school Winnipeg 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 clarinet 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 Gastr Del Sol to the crunk kids.
I played it at the 40 Watt.
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 The Gories. All the underground hits.
All Deutsch Amerikanische Freundschaft tracks. I heard you have a vinyl of every Flipper record on German import.
I heard that you have a white label of every seminal dance 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 harpsichord and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Erykah Badu record.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amon Düül II,
Easy Going,
Japan,
Mary Jane Girls,
The Fortunes,
The Fuzztones,
Marc Romboy vs. Booka Shade,
Sight & Sound,
Traffic Nightmare,
Grey Daturas,
Mo-Dettes,
Jesper Dahlbäck,
Pagans,
Gang of Four,
Sällskapet,
Depeche Mode,
Khruangbin,
De La Soul & Jungle Brothers,
Wighnomy Brothers & Robag Wruhme,
Kurtis Blow,
The Selecter,
ABC,
Eric B and Rakim,
Camouflage,
Heavy D & The Boyz,
Peter & Gordon,
Funkadelic,
FM Einheit,
The Dead C,
Major Organ And The Adding Machine,
Moss Icon,
Patti Smith,
Tommy Roe,
Moebius,
Cheater Slicks,
The Smoke,
T.S.O.L.,
World's Most,
Bob Dylan,
Yusef Lateef,
Liaisons Dangereuses,
Young Marble Giants,
Visage,
Deepchord,
Black Moon,
Bang on a Can All-Stars,
Howard Jones,
ABBA,
The Invisible,
Iggy Pop,
48th St. Collective,
Qualms,
Dark Day,
Junior Murvin,
Camberwell Now,
New Order,
Brothers Johnson,
Alphaville,
Selector Dub Narcotic,
Wire, Wire, Wire, Wire.
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.