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 Hungary and from Seoul.
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 1962 to 1978.
I'm losing my edge.
To all the kids in Seoul and Spokane.
I'm losing my edge to the art-school Portland 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 spring reverb 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 The Young Rascals to the jazz 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 Silicon Teens. All the underground hits.
All Soft Machine tracks. I heard you have a vinyl of every The Gun Club 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 '60s cut and another box set from the '70s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Bootsy Collins record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bill Near,
Bluetip,
Television,
Siglo XX,
Matthew Bourne,
Larry & the Blue Notes,
PIL,
Goldenarms,
Barclay James Harvest,
Jesper Dahlback,
Piero Umiliani,
Unrelated Segments,
Jeff Lynne,
Audionom,
Lungfish,
Pulsallama,
The Smoke,
Kerrie Biddell,
Hasil Adkins,
The Names,
cv313,
Echo & the Bunnymen,
Mission of Burma,
Khruangbin,
Bobby Womack,
Kurtis Blow,
Chris Corsano,
Orchestral Manoeuvres in the Dark,
The Gap Band,
Rahsaan Roland Kirk,
Kerri Chandler,
Swans,
The Star Department,
Junior Murvin,
Sun Ra,
Newcleus,
Arthur Verocai,
Das Ding,
Pete Rock & C.L. Smooth,
Chrome,
the Fania All-Stars,
Man Parrish,
James White and The Blacks,
Nils Olav,
The Modern Lovers,
X-102,
Oblivians,
The Gun Club,
Mo-Dettes,
La Düsseldorf,
Wire,
The Durutti Column,
Tommy Roe,
UT,
Eric Copeland,
Electric Light Orchestra,
Gastr Del Sol,
DeepChord presents Echospace,
Don Cherry,
Lonnie Liston Smith,
Sarah Menescal,
Gabor Szabo,
Al Stewart, Al Stewart, Al Stewart, Al Stewart.
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.