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 Norway and from Beijing.
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 1963 to 1977.
I'm losing my edge.
To all the kids in Taipei and Salvador.
I'm losing my edge to the art-school Shanghai 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 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the chamberlin 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 Lafayette Afro Rock Band to the rock kids.
I played it at the Crocodile.
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 Birthday Party. All the underground hits.
All Stereo Dub tracks. I heard you have a vinyl of every Lou Reed record on German import.
I heard that you have a white label of every seminal crunk 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 güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Television record.
I hear that you and your band have sold your chamberlin and bought an oboe.
I hear that you and your band have sold your oboe and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Art Ensemble Of Chicago,
The Pretty Things,
Kas Product,
Adolescents,
Soft Machine,
Cymande,
Joey Negro,
Lizzy Mercier Descloux,
Boz Scaggs,
The Doors,
Sonny Sharrock,
Larry & the Blue Notes,
The Martian,
Gregory Isaacs,
The Neon Judgement,
Young Marble Giants,
Morten Harket,
Traffic Nightmare,
Kango’s Stein Massive,
Scratch Acid,
Mr. Review,
Terry Callier,
James Chance & The Contortions,
Tubeway Army,
MDC,
The Knickerbockers,
Yellowson,
One Last Wish,
Rekid,
Mars,
Moby Grape,
Tommy Roe,
Liaisons Dangereuses,
Minnie Riperton,
Pet Shop Boys,
Donny Hathaway,
Hot Snakes,
B.T. Express,
Hashim,
Soul Sonic Force,
Sound Behaviour,
The Slits,
Gang Green,
Alphaville,
Richard Hell and the Voidoids,
Tim Buckley,
Anakelly,
Simply Red,
Hardrive,
Steve Hackett,
Janne Schatter,
the Sonics,
Michelle Simonal,
Lafayette Afro Rock Band,
Accadde A,
X-Ray Spex,
Eric Dolphy,
Brass Construction,
Bootsy's Rubber Band,
Orchestral Manoeuvres in the Dark,
Louis and Bebe Barron,
Eric B and Rakim,
The Toasters, The Toasters, The Toasters, The Toasters.
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.