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 Papua New Guinea and from Jakarta.
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 1969 to 1974.
I'm losing my edge.
To all the kids in Bremen and Manchester.
I'm losing my edge to the art-school Jakarta 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 oboe sounds with much patience.
I was there when David Bowie 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 Sad Lovers and Giants to the punk kids.
I played it at the Troubador.
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 Faraquet. All the underground hits.
All The New Christs tracks. I heard you have a vinyl of every Bootsy's Rubber Band 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 '50s cut and another box set from the '70s.
I hear you're buying a theremin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your synthesizer and bought a linndrum.
I hear that you and your band have sold your linndrum and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Fortunes,
Soulsonic Force,
Rotary Connection,
Lou Reed & Metallica,
Drive Like Jehu,
The Techniques,
Super Lover Cee & Casanova Rud,
Gregory Isaacs,
Janne Schatter,
Ponytail,
These Immortal Souls,
Basic Channel,
Peter Gordon & Love of Life Orchestra,
Joe Smooth,
Throbbing Gristle,
the Soft Cell,
Marmalade,
Blossom Toes,
Theoretical Girls,
Unwound,
Arcadia,
Young Marble Giants,
The Move,
Bronski Beat,
The Martian,
Tears for Fears,
The Gap Band,
Teenage Jesus and the Jerks,
Moebius,
Skriet,
Black Flag,
Traffic Nightmare,
Kas Product,
Mad Mike,
Boz Scaggs,
Ajijia Myrayebe,
Sixth Finger,
The Star Department,
Crooked Eye,
Arthur Verocai,
Marc Romboy vs. Booka Shade,
John Cale,
Joey Negro,
Nation of Ulysses,
Fat Boys,
Groovy Waters,
The Names,
Todd Rundgren,
Brand Nubian,
Minutemen,
Liaisons Dangereuses,
Pharaoh Sanders and the Fire Engines,
Delon & Dalcan,
Aural Exciters,
Country Teasers,
Fad Gadget,
Clear Light,
Glambeats Corp.,
Fluxion,
Althea and Donna,
Eric Dolphy, Eric Dolphy, Eric Dolphy, Eric Dolphy.
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.