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 Kyrgyzstan and from Philadelphia.
But I was there.
I was there in .
I was there at the first Suicide 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 1967 to 1977.
I'm losing my edge.
To all the kids in Taipei and Glasgow.
I'm losing my edge to the art-school Johannesburg 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 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 Jimmy McGriff to the disco 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 Ultramagnetic MC's. All the underground hits.
All LL Cool J tracks. I heard you have a vinyl of every Roxette 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 '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Blossom Toes record.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Index,
The Happenings,
Art Ensemble Of Chicago,
Sly & The Family Stone,
The Gun Club,
Depeche Mode,
The Searchers,
Dead Boys,
Spandau Ballet,
The Divine Comedy,
London Community Gospel Choir,
Gerry Rafferty,
Avey Tare's Slasher Flicks,
Surgeon,
Mr. Review,
Arcadia,
The Blues Magoos,
X-101,
Moss Icon,
Pere Ubu,
Richard Hell and the Voidoids,
DeepChord presents Echospace,
Marmalade,
Neil Young,
Fluxion,
Public Enemy,
The Fire Engines,
Country Teasers,
Jeff Lynne,
Negative Approach,
Nick Fraelich,
Brass Construction,
Bobby Womack,
Maleditus Sound,
The Buckinghams,
Section 25,
Trumans Water,
Skarface,
DNA,
Gregory Isaacs,
Slave,
Eric B and Rakim,
Soul II Soul,
Terrestrial Tones,
Girls At Our Best!,
Jandek,
Warsaw,
The New Christs,
Nico,
Peter and Kerry,
Robert Wyatt,
Gian Franco Pienzio,
Bobbi Humphrey,
Kevin Saunderson,
Marcia Griffiths,
Louis and Bebe Barron,
Thompson Twins,
Flash Fearless,
Mark Hollis,
Fatback Band,
Reuben Wilson, Reuben Wilson, Reuben Wilson, Reuben Wilson.
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.