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 Venezuela and from Cairo.
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 1965 to 1972.
I'm losing my edge.
To all the kids in Accra and Mumbai.
I'm losing my edge to the art-school London 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 Janne Schatter 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 Junior Murvin. All the underground hits.
All John Cale tracks. I heard you have a vinyl of every The Sisters of Mercy record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a snare and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Ituana record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aural Exciters,
Model 500,
Mission of Burma,
Gary Puckett & The Union Gap,
Chrome,
Gastr Del Sol,
Gichy Dan,
Mr. Review,
Gerry Rafferty,
Sparks,
Bobby Womack,
The Skatalites,
Circle Jerks,
This Heat,
Byron Stingily,
London Community Gospel Choir,
Hashim,
Glambeats Corp.,
Vainqueur,
U.S. Maple,
Yazoo,
Fela Kuti,
Michelle Simonal,
Robert Hood,
Röyhkä ja Rättö ja Lehtisalo,
Wolf Eyes,
Panda Bear,
Skaos,
Camouflage,
Derrick May,
Isaac Hayes,
DNA,
Alton Ellis,
Stetsasonic,
The Last Poets,
Crash Course in Science,
Rahsaan Roland Kirk,
Larry & the Blue Notes,
Ash Ra Tempel,
Siouxsie and the Banshees,
Echo & the Bunnymen,
Joensuu 1685,
Electric Prunes,
Faraquet,
The Flesh Eaters,
Teenage Jesus and the Jerks,
Gil Scott Heron,
The Durutti Column,
Intrusion,
Ken Boothe,
Kayak,
Charles Mingus,
Sun Ra,
Ludus,
Yellowson,
Red Lorry Yellow Lorry,
R.M.O.,
Fugazi,
Los Fastidios,
The Associates,
Camberwell Now,
Ornette Coleman,
Matthew Bourne, Matthew Bourne, Matthew Bourne, Matthew Bourne.
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.