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 Lithuania and from Paris.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1962 to 1975.
I'm losing my edge.
To all the kids in Halifax and Stockholm.
I'm losing my edge to the art-school Portland 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 theremin 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 The Men They Couldn't Hang to the disco kids.
I played it at the Roxy.
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 Joy Division. All the underground hits.
All The Alarm Clocks tracks. I heard you have a vinyl of every Sällskapet 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 '70s cut and another box set from the '80s.
I hear you're buying a marimba and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Sugar Minott record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neil Young & Crazy Horse,
David Axelrod,
Amazonics,
Kurtis Blow,
Grandmaster Flash,
Cheater Slicks,
Avey Tare,
The Selecter,
Scientists,
Young Marble Giants,
The Evens,
Anthony Braxton,
Lou Reed & Metallica,
Black Moon,
Vaughan Mason & Crew,
Skriet,
Mary Jane Girls,
Warren Ellis,
James White and The Blacks,
Lou Christie,
Eurythmics,
Outsiders,
Peter and Kerry,
Godley & Creme,
Jacob Miller,
Bill Wells,
Public Enemy,
Magma,
Bang on a Can All-Stars,
Gregory Isaacs,
Gichy Dan,
the Bar-Kays,
JFA,
Babytalk,
The Men They Couldn't Hang,
Major Organ And The Adding Machine,
Chrome,
Slave,
Porter Ricks,
Newcleus,
U.S. Maple,
Kauko Röyhkä ja Narttu,
Mandrill,
The Raincoats,
Lebanon Hanover,
James Chance & The Contortions,
Reagan Youth,
Minor Threat,
Bootsy Collins,
Red Lorry Yellow Lorry,
The Smoke,
Kenny Larkin,
Lyres,
The Red Krayola,
Chris Corsano,
Average White Band,
Joensuu 1685,
Ituana,
Smog,
Boredoms,
The Techniques,
Bad Manners,
T. Rex, T. Rex, T. Rex, T. Rex.
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.