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 Equatorial Guinea and from Manchester.
But I was there.
I was there in 1973.
I was there at the first Television 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 1968 to 1970.
I'm losing my edge.
To all the kids in Lille and Halifax.
I'm losing my edge to the art-school Sao Paulo 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 1965 at the first Beefheart practice in a loft in Lancaster.
I was working on the theremin sounds with much patience.
I was there when Robert Palmer 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 Au Pairs to the electroclash kids.
I played it at the Hacienda.
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 Bobby Womack. All the underground hits.
All Danielle Patucci tracks. I heard you have a vinyl of every Spandau Ballet 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 '80s cut and another box set from the '70s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your oboe and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Talk Talk,
The Chocolate Watch Band,
Scratch Acid,
Monolake,
The Red Krayola,
Wasted Youth,
It's A Beautiful Day,
Agent Orange,
the Association,
Sad Lovers and Giants,
David Axelrod,
Ralphi Rosario,
Sight & Sound,
New Order,
John Lydon,
Lou Christie,
Gang Gang Dance,
Connie Case,
Boogie Down Productions,
Lou Reed & John Cale,
Angry Samoans,
T.S.O.L.,
The Five Americans,
These Immortal Souls,
Rhythm & Sound,
John Cale,
Howard Jones,
Barrington Levy,
Joe Smooth,
Alison Limerick,
Maleditus Sound,
Lizzy Mercier Descloux,
Electric Light Orchestra,
China Crisis,
The Velvet Underground,
Shuggie Otis,
The Stooges,
Icehouse,
Nick Fraelich,
Magazine,
Blake Baxter,
Chris Corsano,
Radiohead,
The Birthday Party,
Laurel Aitken,
Kaleidoscope,
Pere Ubu,
Liaisons Dangereuses,
Siouxsie and the Banshees,
the Fania All-Stars,
Hot Snakes,
Nils Olav,
Average White Band,
Sällskapet,
Black Bananas,
T. Rex,
Newcleus,
Boz Scaggs,
John Foxx,
Colin Newman,
Section 25,
Marc Romboy vs. Booka Shade,
Nirvana, Nirvana, Nirvana, Nirvana.
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.