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 Azerbaijan and from Tehran.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1961 to 1973.
I'm losing my edge.
To all the kids in Copenhagen and Lagos.
I'm losing my edge to the art-school Madrid 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 1979 at the first Second Layer practice in a loft in South London.
I was working on the arpeggiator 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 Grauzone to the techno kids.
I played it at the Crocodile.
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 Television. All the underground hits.
All Stockholm Monsters tracks. I heard you have a vinyl of every The Trojans record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a 808 and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Television Personalities record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Manfred Mann's Earth Band,
Dark Day,
Soft Cell,
Loose Ends,
Lightning Bolt,
The Wake,
Tomorrow,
Blancmange,
Television,
Eyeless In Gaza,
The Techniques,
Terrestrial Tones,
MC5,
The Martian,
Au Pairs,
Fat Boys,
Pulsallama,
Negative Approach,
the Sonics,
D'Angelo,
Derrick Morgan,
Aural Exciters,
Nico,
Strawberry Alarm Clock,
Connie Case,
New York Dolls,
Man Parrish,
Girls At Our Best!,
the Soft Cell,
Main Source,
Lucky Dragons,
Electric Light Orchestra,
Depeche Mode,
the Swans,
Sun Ra,
FM Einheit,
Joe Smooth,
Eddi Front,
Angels of Light & Akron/Family,
The Cure,
Minny Pops,
Sam Rivers,
Rod Modell,
The Standells,
The Grass Roots,
The Toasters,
Mantronix,
The Modern Lovers,
Morten Harket,
Spandau Ballet,
Gang Starr,
Notorious Big And Bone Thugs,
Bad Manners,
The Music Machine,
The West Coast Pop Art Experimental Band,
Black Pus,
8 Eyed Spy,
Cheater Slicks,
Black Sheep,
X-101,
Siouxsie and the Banshees,
Moss Icon, Moss Icon, Moss Icon, Moss Icon.
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.