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 London.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Sao Paulo and Paris.
I'm losing my edge to the art-school Houston 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 spring reverb sounds with much patience.
I was there when Donald Fagen 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 KRS-One to the punk kids.
I played it at the Astoria.
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 Heaven 17. All the underground hits.
All Masters at Work tracks. I heard you have a vinyl of every Thompson Twins 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 guitar and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Inner City record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flipper,
Reuben Wilson,
Los Fastidios,
Pet Shop Boys,
Avey Tare & Kría Brekkan,
Morten Harket,
Cameo,
Grey Daturas,
Minnie Riperton,
Niagra,
Young Marble Giants,
Jacques Brel,
Rufus Thomas,
Soft Machine,
Kaleidoscope,
Bill Near,
Siouxsie and the Banshees,
The Jesus and Mary Chain,
Guru Guru,
FM Einheit,
Anthony Braxton,
Graham Central Station,
Yusef Lateef,
Country Teasers,
Talk Talk,
Outsiders,
John Cale,
Lebanon Hanover,
Amon Düül II,
Lower 48,
Dual Sessions,
Absolute Body Control,
The Sisters of Mercy,
Bronski Beat,
Model 500,
Fifty Foot Hose,
DNA,
Peter Gordon & Love of Life Orchestra,
Major Organ And The Adding Machine,
The Gories,
Godley & Creme,
Max Romeo,
Barry Ungar,
Mission of Burma,
Beasts of Bourbon,
Cabaret Voltaire,
Kerrie Biddell,
The Cure,
Todd Rundgren,
Essential Logic,
8 Eyed Spy,
Black Flag,
David Bowie,
Robert Hood,
Crime,
Infiniti,
Liliput,
Khruangbin,
Eric Copeland,
Urselle,
Kevin Saunderson,
Ossler, Ossler, Ossler, Ossler.
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.