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 Bahrain and from Stockholm.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1967 to 1973.
I'm losing my edge.
To all the kids in Lille and Mexico City.
I'm losing my edge to the art-school Salvador 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 synthesizer 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 Nation of Ulysses to the rock kids.
I played it at the Roxy.
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 Orchestral Manoeuvres in the Dark. All the underground hits.
All Bizarre Inc. tracks. I heard you have a vinyl of every Bobby Sherman record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a 808 and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your synthesizer and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Saccharine Trust,
Amon Düül,
Mr. Review,
Pet Shop Boys,
Byron Stingily,
Suburban Knight,
The Raincoats,
The Fuzztones,
Morten Harket,
Glenn Branca,
Trumans Water,
Crispian St. Peters,
Minny Pops,
The Slits,
Wighnomy Brothers & Robag Wruhme,
Yellowson,
Notorious BIG live in Amsterdam,
Gichy Dan,
Soul Sonic Force,
The Neon Judgement,
Mars,
Los Fastidios,
Delon & Dalcan,
Marc Romboy vs. Booka Shade,
Lebanon Hanover,
Art Ensemble Of Chicago,
Oppenheimer Analysis,
Max Romeo,
The Sonics,
Robert Hood,
Kerrie Biddell,
Fort Wilson Riot,
Mo-Dettes,
Black Sheep,
Masters at Work,
Heaven 17,
Slick Rick,
PIL,
The Doors,
The Dead C,
Heavy D & The Boyz,
The Techniques,
Altered Images,
Brothers Johnson,
Bootsy's Rubber Band,
Neu!,
James White and The Blacks,
Boz Scaggs,
Ten City,
Q and Not U,
John Cale,
F. McDonald,
Supertramp,
Faraquet,
Black Moon,
Buzzcocks,
Japan,
Pharaoh Sanders and the Fire Engines,
Kevin Saunderson,
Glambeats Corp.,
Sarah Menescal,
Model 500, Model 500, Model 500, Model 500.
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.