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 Liechtenstein and from Manila.
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 1965 to 1970.
I'm losing my edge.
To all the kids in Bologna and Sao Paulo.
I'm losing my edge to the art-school Paris 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 harpsichord 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 Jesper Dahlbäck to the electroclash kids.
I played it at Cafe Wha.
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 Bang On A Can. All the underground hits.
All Godley & Creme tracks. I heard you have a vinyl of every KRS-One record on German import.
I heard that you have a white label of every seminal rap 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 a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a New Order record.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Johnny Osbourne,
Deutsch Amerikanische Freundschaft,
Kool Moe Dee,
Jesper Dahlback,
Quantec,
Donny Hathaway,
Max Romeo,
Schoolly D,
Roxy Music,
Toni Rubio,
Grey Daturas,
The Standells,
Funky Four + One,
Amazonics,
Whodini,
Tropical Tobacco,
KRS-One,
Soft Cell,
X-102,
Lou Reed & John Cale,
Warsaw,
Dual Sessions,
New York Dolls,
Soul II Soul,
Nas,
Delta 5,
The Doobie Brothers,
The Pretty Things,
Parry Music,
Young Marble Giants,
Jeff Lynne,
The Seeds,
Peter and Kerry,
Nick Cave & The Bad Seeds,
Danielle Patucci,
Liaisons Dangereuses,
New Order,
Notorious Big And Bone Thugs,
Alison Limerick,
Eric B and Rakim,
Little Man,
10cc,
Marvin Gaye,
Unrelated Segments,
K-Klass,
Godley & Creme,
Bizarre Inc.,
The Slackers,
Matthew Halsall,
Super Lover Cee & Casanova Rud,
Make Up,
Camberwell Now,
Saccharine Trust,
Hashim,
Sun Ra,
Subhumans,
Liliput,
Altered Images,
Davy DMX,
Bauhaus,
Ornette Coleman,
Masters at Work, Masters at Work, Masters at Work, Masters at Work.
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.