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 Haiti and from New York.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1968 to 1973.
I'm losing my edge.
To all the kids in Philadelphia and Bremen.
I'm losing my edge to the art-school Tehran 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 guitar 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 Rosa Yemen to the electroclash kids.
I played it at Cafe Wha.
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 The Moleskins. All the underground hits.
All Johnny Osbourne tracks. I heard you have a vinyl of every The Searchers record on German import.
I heard that you have a white label of every seminal rock 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 a spring reverb and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Tears for Fears record.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Infiniti,
B.T. Express,
Manfred Mann's Earth Band,
Stockholm Monsters,
Godley & Creme,
Interpol,
Banda Bassotti,
The Doors,
Quadrant,
Icehouse,
Peter Gordon & Love of Life Orchestra,
Freddie Wadling,
Kaleidoscope,
Funkadelic,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Lalann,
The Sonics,
Franke,
Blancmange,
The Real Kids,
James White and The Blacks,
Parry Music,
The Human League,
The Victims,
Junior Murvin,
Avey Tare's Slasher Flicks,
FM Einheit,
Sällskapet,
Fela Kuti,
Johnny Clarke,
Unwound,
Louis and Bebe Barron,
Khruangbin,
Arthur Verocai,
Tears for Fears,
Bootsy Collins,
The Mummies,
John Holt,
Be Bop Deluxe,
John Coltrane,
Robert Wyatt,
Scratch Acid,
cv313,
AZ,
Bobby Hutcherson,
kango's stein massive,
Lonnie Liston Smith,
Gang Green,
Accadde A,
R.M.O.,
Pierre Henry,
London Community Gospel Choir,
Sound Behaviour,
PIL,
Barry Ungar,
Mary Jane Girls,
Rufus Thomas,
Los Fastidios,
48th St. Collective,
Jerry Gold Smith,
Derrick May,
Make Up, Make Up, Make Up, Make Up.
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.