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 Luxembourg and from Columbus.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Milan and Edmonton.
I'm losing my edge to the art-school Paris 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 oboe 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 Sunsets and Hearts to the grunge kids.
I played it at the Astoria.
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 Groovy Waters. All the underground hits.
All Sparks tracks. I heard you have a vinyl of every Jesper Dahlback record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a chamberlin and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Deadbeat record.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Bobby Hutcherson,
Barclay James Harvest,
Richard Hell and the Voidoids,
Pere Ubu,
Letta Mbulu,
The Young Rascals,
Jerry's Kids,
Lindisfarne,
Kerrie Biddell,
The Neon Judgement,
Soul II Soul,
Rotary Connection,
Bobby Sherman,
Parry Music,
The Saints,
The Vogues,
Country Joe & The Fish,
B.T. Express,
Swans,
Black Moon,
In Retrospect,
Harry Pussy,
the Fania All-Stars,
Motorama,
The Divine Comedy,
Delta 5,
Procol Harum,
Funkadelic,
Suburban Knight,
China Crisis,
Todd Rundgren,
Negative Approach,
Gong,
Andrew Ashong & Theo Parrish,
The Monks,
Spandau Ballet,
Eddi Front,
These Immortal Souls,
Au Pairs,
Bauhaus,
Quadrant,
Liaisons Dangereuses,
Neu!,
Roy Ayers,
Lee Hazlewood,
Jacob Miller,
Scan 7,
The Smoke,
Pete Rock & C.L. Smooth,
Funky Four + One,
Gregory Isaacs,
Theoretical Girls,
Tim Buckley,
Public Enemy,
Reagan Youth,
Sister Nancy,
Sparks,
The Moody Blues,
The Wake,
Freddie Wadling, Freddie Wadling, Freddie Wadling, Freddie Wadling.
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.