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 Russia and from Copenhagen.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Milan and London.
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 theremin sounds with much patience.
I was there when David Bowie 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 Arthur Verocai to the jazz kids.
I played it at the Spitz.
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 Flash Fearless. All the underground hits.
All The Trojans tracks. I heard you have a vinyl of every The Doors record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Gang of Four record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lizzy Mercier Descloux,
Major Organ And The Adding Machine,
Masters at Work,
The Zeros,
The Kinks,
Rotary Connection,
Symarip,
Marshall Jefferson,
Jerry Gold Smith,
Supertramp,
Sam Rivers,
cv313,
Warsaw,
The Doors,
Mary Jane Girls,
Angels of Light & Akron/Family,
Grauzone,
Harpers Bizarre,
The J.B.'s,
Pete Rock & C.L. Smooth,
Gary Puckett & The Union Gap,
The Sound,
Blake Baxter,
Black Moon,
The Barracudas,
Gastr Del Sol,
Eve St. Jones,
Cybotron,
In Retrospect,
Terry Callier,
The Gories,
Stiv Bators,
The Searchers,
Angry Samoans,
Blancmange,
Aaron Thompson,
Todd Terry,
New York Dolls,
Minny Pops,
Loose Ends,
Second Layer,
The Beau Brummels,
Johnny Clarke,
The Wake,
H. Thieme,
Rufus Thomas,
The Skatalites,
Buzzcocks,
Nirvana,
Sun Ra,
Lakeside,
Amon Düül II,
Goldenarms,
Bizarre Inc.,
The Martian,
Marc Almond,
Amazonics,
Derrick Morgan,
Röyhkä ja Rättö ja Lehtisalo,
Pylon,
John Holt,
The Moleskins, The Moleskins, The Moleskins, The Moleskins.
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.