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 Madagascar and from Mexico City.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1960 to 1971.
I'm losing my edge.
To all the kids in Jakarta and London.
I'm losing my edge to the art-school Jakarta 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 chamberlin sounds with much patience.
I was there when Lou Reed 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 Pere Ubu to the dance kids.
I played it at the Troubador.
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 Offenders. All the underground hits.
All Bizarre Inc. tracks. I heard you have a vinyl of every Jeru the Damaja record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a chamberlin and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Matthew Bourne record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Gerry Rafferty,
Sticky Fingaz feat. Raekwon,
Aaron Thompson,
Eyeless In Gaza,
Deepchord,
The Star Department,
Quando Quango,
John Foxx,
Jesper Dahlback,
The Doors,
Sun City Girls,
Rakim,
Boz Scaggs,
Blancmange,
Joyce Sims,
Erasure,
Wally Richardson,
The Gories,
The Fortunes,
Michelle Simonal,
Amazonics,
Rites of Spring,
Liliput,
The Count Five,
Bootsy's Rubber Band,
Andrew Hill,
Jerry's Kids,
Angels of Light & Akron/Family,
Mark Hollis,
The Monochrome Set,
Roy Ayers Ubiquity,
10cc,
The Index,
Icehouse,
The Divine Comedy,
The Last Poets,
Ultravox,
Quantec,
Blossom Toes,
Royal Trux,
The Music Machine,
Wings,
DeepChord presents Echospace,
Urselle,
The Peanut Butter Conspiracy,
Chrome,
Ludus,
Jacob Miller,
The Detroit Cobras,
the Sonics,
Scrapy,
The Remains,
Rufus Thomas,
Joey Negro,
Sad Lovers and Giants,
Gil Scott-Heron and Jamie xx,
Bluetip,
Gian Franco Pienzio,
Dead Boys,
Visage,
The Buckinghams,
Young Marble Giants,
Swans, Swans, Swans, Swans.
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.