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 Copenhagen.
But I was there.
I was there in 1971.
I was there at the first Neu! show in Düsseldorf.
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 1969 to 1977.
I'm losing my edge.
To all the kids in Mexico City and Glasgow.
I'm losing my edge to the art-school Toronto 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 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 Make Up to the rap kids.
I played it at the Troubador.
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 Japan. All the underground hits.
All The Invisible tracks. I heard you have a vinyl of every Visage 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 '60s cut and another box set from the '70s.
I hear you're buying a harpsichord and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Outsiders record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Prince Buster,
Cecil Taylor,
Wire,
Peter Gordon & Love of Life Orchestra,
Archie Shepp,
the Sonics,
Popol Vuh,
The Jesus and Mary Chain,
E-Dancer,
Thinking Fellers Union Local 282,
Delta 5,
The Misunderstood,
The Fuzztones,
CMW,
Tom Boy,
Parry Music,
Chris Corsano,
Lou Reed & Metallica,
Magazine,
The Pop Group,
48th St. Collective,
Judy Mowatt,
Gang Starr,
Glambeats Corp.,
The Sisters of Mercy,
ABC,
The Toasters,
Manfred Mann's Earth Band,
Howard Jones,
Neu!,
Banda Bassotti,
Mad Mike,
The West Coast Pop Art Experimental Band,
The Martian,
Kings Of Tomorrow,
Pantaleimon,
Skarface,
Oneida,
The Beau Brummels,
Gerry Rafferty,
Dennis Brown,
Sun Ra,
Skaos,
Mr. Review,
Suburban Knight,
Major Organ And The Adding Machine,
Lindisfarne,
Erasure,
Schoolly D,
The Monochrome Set,
Michelle Simonal,
The Fortunes,
Sun Ra Arkestra,
Yusef Lateef,
Royal Trux,
Quantec,
Blake Baxter,
Davy DMX,
Livin' Joy,
Joe Smooth,
U.S. Maple, U.S. Maple, U.S. Maple, U.S. Maple.
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.