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 El Salvador and from Cairo.
But I was there.
I was there in 1987.
I was there at the first Nirvana show in Seattle.
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 1966 to 1979.
I'm losing my edge.
To all the kids in Jakarta and Salvador.
I'm losing my edge to the art-school Madrid 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the synthesizer 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 Jesper Dahlbäck to the rap 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 The Cure. All the underground hits.
All Trumans Water tracks. I heard you have a vinyl of every The Gories record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an oboe and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Erasure record.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Cure,
The Human League,
Traffic Nightmare,
Gil Scott-Heron & Brian Jackson,
Warsaw,
Q65,
Lee Hazlewood,
Stetsasonic,
Ituana,
Gichy Dan,
Half Japanese,
Sight & Sound,
Crispian St. Peters,
Nils Olav,
Johnny Clarke,
Silicon Teens,
David McCallum,
Mo-Dettes,
Jacques Brel,
Magma,
Agent Orange,
Lyres,
Masters at Work,
Hot Snakes,
Curtis Mayfield,
Zapp,
Sparks,
Nik Kershaw,
Nas,
the Fania All-Stars,
Skarface,
Rakim,
Agitation Free,
Sad Lovers and Giants,
Joey Negro,
the Association,
Deakin,
Cal Tjader,
June of 44,
EPMD,
Richard Hell and the Voidoids,
Underground Resistance,
It's A Beautiful Day,
Avey Tare's Slasher Flicks,
Wire,
Zero Boys,
Robert Görl,
Ossler,
Ralphi Rosario,
the Slits,
Spandau Ballet,
Bronski Beat,
Saccharine Trust,
Be Bop Deluxe,
The Techniques,
Moss Icon,
Eden Ahbez,
Marc Romboy vs. Booka Shade,
Easy Going,
The Shadows of Knight,
Graham Central Station, Graham Central Station, Graham Central Station, Graham Central Station.
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.