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 Mauritius and from Beijing.
But I was there.
I was there in .
I was there at the first Suicide 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 1967 to 1973.
I'm losing my edge.
To all the kids in Portland and Portland.
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 sitar sounds with much patience.
I was there when Nile Rodgers 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 R.M.O. to the electroclash 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 Tomorrow. All the underground hits.
All Piero Umiliani tracks. I heard you have a vinyl of every Peter and Kerry record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Michelle Simonal record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Simply Red,
Hoover,
D'Angelo,
Model 500,
Jerry's Kids,
Accadde A,
The Jesus and Mary Chain,
Funky Four + One,
Wolf Eyes,
Guru Guru,
the Soft Cell,
Kerri Chandler,
Lou Christie,
Quando Quango,
Spoonie Gee,
Josef K,
Peter and Kerry,
The Smiths,
Hasil Adkins,
Rites of Spring,
Nik Kershaw,
Isaac Hayes,
Magazine,
The Gap Band,
The Moody Blues,
Technova,
Althea and Donna,
Louis and Bebe Barron,
Bobby Hutcherson,
Cybotron,
Matthew Halsall,
Harry Pussy,
Sound Behaviour,
Ponytail,
Art Ensemble Of Chicago,
Rufus Thomas,
8 Eyed Spy,
Faraquet,
R.M.O.,
H. Thieme,
Q and Not U,
Talk Talk,
E-Dancer,
Marc Almond,
Gil Scott-Heron & Brian Jackson,
Michelle Simonal,
The Techniques,
Piero Umiliani,
Maleditus Sound,
Peter & Gordon,
Echo & the Bunnymen,
Flipper,
Jesper Dahlbäck,
Sister Nancy,
Tropical Tobacco,
The Men They Couldn't Hang,
Anthony Braxton,
The Zeros,
Robert Hood,
Fifty Foot Hose,
Urselle,
Robert Görl,
Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish, Andrew Ashong & Theo Parrish.
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.