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 Mongolia and from Tehran.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1979.
I'm losing my edge.
To all the kids in Taipei and Accra.
I'm losing my edge to the art-school Mexico City 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 at the first Suicide practice in a loft in New York.
I was working on the chamberlin 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 Fad Gadget to the rock 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 Stiv Bators. All the underground hits.
All Ludus tracks. I heard you have a vinyl of every Peter Gordon & Love of Life Orchestra 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 '80s cut and another box set from the '70s.
I hear you're buying a clarinet and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Gregory Isaacs record.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
Traffic Nightmare,
Todd Rundgren,
Gil Scott-Heron & Brian Jackson,
Mars,
Lou Reed,
Schoolly D,
Glambeats Corp.,
Avey Tare's Slasher Flicks,
Rekid,
The Gories,
Lindisfarne,
The Evens,
Leonard Cohen,
Alison Limerick,
The Birthday Party,
Black Pus,
Niagra,
The Stooges,
Stockholm Monsters,
Morten Harket,
Sixth Finger,
The Misunderstood,
Model 500,
Lakeside,
Glenn Branca,
the Soft Cell,
The Victims,
The Alarm Clocks,
Flamin' Groovies,
Yusef Lateef,
Lee Hazlewood,
Donny Hathaway,
Jeff Mills,
Tears for Fears,
Bill Wells,
Isaac Hayes,
Quantec,
T. Rex,
Amon Düül,
Terry Callier,
the Normal,
Country Teasers,
Black Sheep,
Babytalk,
Cameo,
Grandmaster Flash and the Furious Five,
Bobby Womack,
Cybotron,
Second Layer,
Absolute Body Control,
Can,
Zero Boys,
Scientists,
Wire,
Wolf Eyes,
Parry Music,
The Buckinghams,
Barbara Tucker,
Clear Light,
Joyce Sims, Joyce Sims, Joyce Sims, Joyce Sims.
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.