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 Slovakia and from Lyon.
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 1979.
I'm losing my edge.
To all the kids in Madrid and Sao Paulo.
I'm losing my edge to the art-school Bremen 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 linndrum 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 Nik Kershaw to the grunge kids.
I played it at the Hacienda.
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 Lou Christie. All the underground hits.
All MDC tracks. I heard you have a vinyl of every The American Breed 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 '80s.
I hear you're buying a theremin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Jimmy McGriff record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Groovy Waters,
Robert Wyatt,
Roxette,
The Motions,
OOIOO,
Ralphi Rosario,
Maleditus Sound,
Josef K,
Popol Vuh,
Sarah Menescal,
Kerrie Biddell,
Janne Schatter,
DNA,
New York Dolls,
Ossler,
Tom Boy,
Gabor Szabo,
Fatback Band,
Moby Grape,
Slave,
Eric Copeland,
Andrew Ashong & Theo Parrish,
Ponytail,
Black Pus,
Kurtis Blow,
Pierre Henry,
Severed Heads,
The Music Machine,
Sex Pistols,
Alice Coltrane,
U.S. Maple,
the Soft Cell,
Cecil Taylor,
Mars,
Soft Cell,
Jacob Miller,
China Crisis,
Scan 7,
The Invisible,
Joy Division,
Sound Behaviour,
The Associates,
The Divine Comedy,
8 Eyed Spy,
The Residents,
Organ,
Tim Buckley,
Brand Nubian,
L. Decosne,
Donald Byrd,
Terry Callier,
Pet Shop Boys,
Shuggie Otis,
The Trojans,
The Monochrome Set,
Selector Dub Narcotic,
Monks,
Technova,
Bill Near,
Rod Modell,
Public Image Ltd.,
Eurythmics, Eurythmics, Eurythmics, Eurythmics.
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.