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 Papua New Guinea and from Shanghai.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1964 to 1974.
I'm losing my edge.
To all the kids in Taipei and Tehran.
I'm losing my edge to the art-school Stockholm 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 808 sounds with much patience.
I was there when Donald Fagen 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 kango's stein massive to the techno kids.
I played it at the 40 Watt.
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 Wire. All the underground hits.
All Aaron Thompson tracks. I heard you have a vinyl of every Heavy D & The Boyz record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s 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 This Heat record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Knickerbockers,
Judy Mowatt,
Bobby Womack,
The Velvet Underground,
The Wake,
Warsaw,
Average White Band,
Joy Division,
Circle Jerks,
Deakin,
Crime,
Howard Jones,
Patti Smith,
D'Angelo,
Amon Düül II,
Blancmange,
Lightning Bolt,
Freddie Wadling,
Tropical Tobacco,
Kerrie Biddell,
Japan,
8 Eyed Spy,
One Last Wish,
Aural Exciters,
a-ha,
June Days,
Tubeway Army,
Rapeman,
Brass Construction,
Toni Rubio,
Joyce Sims,
Joe Finger,
Barry Ungar,
The Gladiators,
Ajijia Myrayebe,
The Fugs,
Jandek,
Rakim,
Joey Negro,
Pere Ubu,
Piero Umiliani,
Nik Kershaw,
Jeff Lynne,
Hoover,
Flipper,
Lee Hazlewood,
the Human League,
Desert Stars,
Zero Boys,
Faust,
Avey Tare & Kría Brekkan,
Sound Behaviour,
Larry & the Blue Notes,
The Tremeloes,
PIL,
The Count Five,
Clear Light,
Barclay James Harvest,
The Shadows of Knight,
Los Fastidios,
JFA, JFA, JFA, JFA.
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.