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 Canada and from Cairo.
But I was there.
I was there in 1976.
I was there at the first Feelies show in Haledon.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Tokyo and Milan.
I'm losing my edge to the art-school Accra 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the synthesizer sounds with much patience.
I was there when Robert Palmer 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 Scott Walker to the electroclash 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 Bill Wells. All the underground hits.
All Crash Course in Science tracks. I heard you have a vinyl of every Silicon Teens record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a theremin and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Black Moon record.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Wally Richardson,
Public Enemy,
Slave,
Rowland S Howard / Lydia Lunch,
Kauko Röyhkä ja Narttu,
Alison Limerick,
Shuggie Otis,
Pere Ubu,
CMW,
Pete Rock & C.L. Smooth,
the Association,
Negative Approach,
The Litter,
The Divine Comedy,
Moby Grape,
The Blackbyrds,
kango's stein massive,
Grey Daturas,
Gastr Del Sol,
DeepChord presents Echospace,
Peter & Gordon,
The Standells,
Tropical Tobacco,
Deadbeat,
Traffic Nightmare,
Cymande,
Bobby Womack,
Swell Maps,
Bang On A Can,
The Raincoats,
The Men They Couldn't Hang,
Sister Nancy,
Jerry Gold Smith,
Sällskapet,
Easy Going,
E-Dancer,
Nas,
Oppenheimer Analysis,
Babytalk,
The Count Five,
Kerri Chandler,
Black Moon,
Danielle Patucci,
The Electric Prunes,
The Tremeloes,
One Last Wish,
Graham Central Station,
Jesper Dahlbäck,
Fear,
Neil Young,
The Cure,
H. Thieme,
Monks,
Ultra Naté,
Amon Düül II,
Chrome,
John Coltrane,
Cecil Taylor,
Scott Walker + Sunn O))),
Eli Mardock,
A Flock of Seagulls,
Mr. Review,
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.