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 Egypt and from Glasgow.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1968 to 1976.
I'm losing my edge.
To all the kids in Copenhagen and Stockholm.
I'm losing my edge to the art-school Manila 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 arpeggiator 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 Laurel Aitken to the electroclash 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 Liaisons Dangereuses. All the underground hits.
All Bobby Sherman tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying an organ and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Boredoms record.
I hear that you and your band have sold your sitar and bought a 808.
I hear that you and your band have sold your 808 and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Roger Hodgson,
The Standells,
Monolake,
Saccharine Trust,
The Grass Roots,
Negative Approach,
Black Pus,
X-102,
10cc,
Public Image Ltd.,
Outsiders,
Drexciya,
Morten Harket,
Unwound,
Chris Corsano,
Minor Threat,
Urselle,
Section 25,
Au Pairs,
Vladislav Delay,
Albert Ayler,
Malaria!,
Sun Ra Arkestra,
Bootsy Collins,
Nation of Ulysses,
Yaz,
Rod Modell,
Lindisfarne,
8 Eyed Spy,
The Gap Band,
Stiv Bators,
The Slackers,
Lungfish,
The Beau Brummels,
Pierre Henry,
Spoonie Gee,
Panda Bear,
Jerry Gold Smith,
the Soft Cell,
Ronnie Foster,
Hasil Adkins,
Talk Talk,
Man Parrish,
Symarip,
Hoover,
Eve St. Jones,
Mandrill,
Royal Trux,
Television,
Lakeside,
Chris & Cosey,
Camron Feat. Memphis Bleek And Beenie Seigel,
Bronski Beat,
The Blackbyrds,
The Doobie Brothers,
In Retrospect,
Rakim,
Notorious BIG live in Amsterdam,
Dorothy Ashby,
Big Daddy Kane,
Bauhaus,
Pharoah Sanders,
Cabaret Voltaire,
Blossom Toes,
Spandau Ballet, Spandau Ballet, Spandau Ballet, Spandau Ballet.
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.