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 Gabon and from Tehran.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1966 to 1973.
I'm losing my edge.
To all the kids in Houston and Portland.
I'm losing my edge to the art-school Seoul 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 linndrum sounds with much patience.
I was there when Michael McDonald 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 Jeff Lynne to the disco kids.
I played it at the Spitz.
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 Pharoah Sanders. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every John Holt 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 sitar and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Kool Moe Dee record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Flipper,
Angry Samoans,
Bobby Sherman,
Crash Course in Science,
JFA,
Boogie Down Productions,
Peter and Kerry,
Eden Ahbez,
Nik Kershaw,
Ultra Naté,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Morten Harket,
The Martian,
Minny Pops,
Spandau Ballet,
The Blues Magoos,
Kerrie Biddell,
The Index,
John Holt,
X-102,
Country Teasers,
Jerry's Kids,
Sixth Finger,
The Electric Prunes,
Massinfluence,
Yusef Lateef,
Zapp,
Harmonia,
Marcia Griffiths,
Selector Dub Narcotic,
Ludus,
Pole,
Deakin,
Throbbing Gristle,
Negative Approach,
MC5,
Ajijia Myrayebe,
Adolescents,
Manfred Mann's Earth Band,
R.M.O.,
Tom Boy,
Stereo Dub,
The Leaves,
Absolute Body Control,
The Gun Club,
Drive Like Jehu,
Archie Shepp,
Kool G Rap & DJ Polo,
Jesper Dahlback,
Quadrant,
Index,
Ossler,
Kenny Larkin,
The Move,
Minutemen,
Moebius,
John Foxx,
Avey Tare's Slasher Flicks,
Wire,
Bobby Byrd,
Quantec,
Matthew Bourne,
Joe Smooth,
ABC, ABC, ABC, ABC.
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.