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 Syria and from Shanghai.
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 1965 to 1976.
I'm losing my edge.
To all the kids in Delhi and Lyon.
I'm losing my edge to the art-school New York 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 1978 at the first Visage practice in a loft in London.
I was working on the guitar sounds with much patience.
I was there when Captain Beefheart 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 Country Joe & The Fish to the crunk 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 Nick Fraelich. All the underground hits.
All the Human League tracks. I heard you have a vinyl of every Ponytail 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 mellotron and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Vladislav Delay record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Tim Buckley,
Guru Guru,
Gastr Del Sol,
Skriet,
Andrew Ashong & Theo Parrish,
Scientists,
Be Bop Deluxe,
Byron Stingily,
Roxy Music,
Nation of Ulysses,
Carl Craig,
Severed Heads,
La Düsseldorf,
Slick Rick,
Glambeats Corp.,
Alison Limerick,
China Crisis,
Dorothy Ashby,
Lungfish,
Soul Sonic Force,
The Star Department,
Wolf Eyes,
Piero Umiliani,
Morten Harket,
Kauko Röyhkä ja Narttu,
LL Cool J,
Agent Orange,
Jesper Dahlback,
Pussy Galore,
Supertramp,
Rakim,
Technova,
Tropical Tobacco,
Maleditus Sound,
Lizzy Mercier Descloux,
The Fugs,
Magazine,
The Pop Group,
Mark Hollis,
It's A Beautiful Day,
Rufus Thomas,
cv313,
Silicon Teens,
Agitation Free,
Pharoah Sanders,
Tommy Roe,
Cameo,
Bobby Womack,
Maurizio,
In Retrospect,
Fad Gadget,
Fat Boys,
London Community Gospel Choir,
Marcia Griffiths,
Robert Wyatt,
Bootsy Collins,
Masters at Work,
John Holt,
Royal Trux,
Kaleidoscope,
X-Ray Spex,
Curtis Mayfield,
The Alarm Clocks, The Alarm Clocks, The Alarm Clocks, The Alarm Clocks.
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.