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 Gambia and from Toronto.
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 1965 to 1977.
I'm losing my edge.
To all the kids in Sao Paulo and Bologna.
I'm losing my edge to the art-school Manchester 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 1973 at the first Television practice in a loft in New York.
I was working on the 808 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 Derrick May to the jazz 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 Hoover. All the underground hits.
All Donny Hathaway tracks. I heard you have a vinyl of every 10cc record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a mellotron and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Circle Jerks,
Ultimate Spinach,
Girls At Our Best!,
Justin Hinds & The Dominoes,
The Kinks,
The Royal Family And The Poor,
Bobbi Humphrey,
The Dirtbombs,
Hardrive,
Derrick May,
Brass Construction,
Marcia Griffiths,
The Standells,
Reuben Wilson,
The Last Poets,
The Blackbyrds,
Unwound,
Dorothy Ashby,
the Human League,
Pet Shop Boys,
The Buckinghams,
Qualms,
Bootsy's Rubber Band,
T.S.O.L.,
Pulsallama,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Peter Gordon & Love of Life Orchestra,
Harpers Bizarre,
Eurythmics,
The Red Krayola,
Zapp,
Avey Tare & Kría Brekkan,
Faust,
Juan Atkins,
Sonic Youth,
Amon Düül,
The Fortunes,
The Skatalites,
Glenn Branca,
Inner City,
Wighnomy Brothers & Robag Wruhme,
Spandau Ballet,
Donny Hathaway,
Tres Demented,
Tommy Roe,
Lizzy Mercier Descloux,
David Bowie,
Kerrie Biddell,
Tropical Tobacco,
Archie Shepp,
Throbbing Gristle,
Interpol,
Frankie Knuckles,
Patti Smith,
Q65,
The Music Machine,
Chrome,
The Black Dice,
The Offenders,
Silicon Teens,
Stiv Bators,
Dave Gahan, Dave Gahan, Dave Gahan, Dave Gahan.
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.