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 Mauritania and from Portland.
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 1964 to 1971.
I'm losing my edge.
To all the kids in New York and Glasgow.
I'm losing my edge to the art-school Delhi 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 1977 at the first Human League practice in a loft in Sheffield.
I was working on the oboe 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 Crime to the electroclash kids.
I played it at the Astoria.
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 Gong. All the underground hits.
All Toni Rubio tracks. I heard you have a vinyl of every Tom Boy record on German import.
I heard that you have a white label of every seminal funk 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 synthesizer and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your linndrum and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Radio Birdman,
MC5,
Janne Schatter,
Neil Young & Crazy Horse,
Junior Murvin,
Isaac Hayes,
The Real Kids,
The Gories,
The Tremeloes,
Mark Hollis,
Marmalade,
Country Teasers,
Angry Samoans,
Urselle,
The Toasters,
Brass Construction,
The Associates,
Joy Division,
China Crisis,
Graham Central Station,
Amon Düül II,
Deadbeat,
Sexual Harrassment,
The Sound,
The Fugs,
Bobby Hutcherson,
Rotary Connection,
The Knickerbockers,
Fluxion,
Bobbi Humphrey,
Kool G Rap & DJ Polo,
New York Dolls,
Nico,
Danielle Patucci,
The Electric Prunes,
Cal Tjader,
Darondo,
Ajijia Myrayebe,
Pantaleimon,
Ponytail,
Mary Jane Girls,
Kool Moe Dee,
Young Marble Giants,
The United States of America,
One Last Wish,
Popol Vuh,
John Coltrane,
Fugazi,
Cecil Taylor,
Roxette,
Country Joe & The Fish,
Half Japanese,
The Busters,
Sugar Minott,
Tom Boy,
the Swans,
48th St. Collective,
Warren Ellis,
Television,
Sarah Menescal,
New Age Steppers,
Magazine,
The Pop Group,
Ten City,
Ossler, Ossler, Ossler, Ossler.
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.