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 Azerbaijan and from Sao Paulo.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in 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 1969 to 1970.
I'm losing my edge.
To all the kids in Sao Paulo and Jakarta.
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 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 Captain Beefheart 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 Girls At Our Best! to the grunge kids.
I played it at the Roxy.
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 Steve Hackett. All the underground hits.
All The Busters tracks. I heard you have a vinyl of every Pantaleimon 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 '80s cut and another box set from the '80s.
I hear you're buying a synthesizer and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Cal Tjader record.
I hear that you and your band have sold your rhodes and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Spandau Ballet,
Thinking Fellers Union Local 282,
Ossler,
Icehouse,
World's Most,
Duran Duran,
The Monks,
Bronski Beat,
Zero Boys,
Kurtis Blow,
The Selecter,
Agitation Free,
Crooked Eye,
The Stooges,
Hardrive,
Moebius,
Todd Rundgren,
Tim Buckley,
Soft Machine,
Harry Pussy,
Cal Tjader,
Thee Headcoats,
Scott Walker,
Sad Lovers and Giants,
Roy Ayers,
Royal Trux,
Symarip,
Babytalk,
The Slackers,
Joensuu 1685,
Quando Quango,
R.M.O.,
Television Personalities,
Kevin Saunderson,
Soft Cell,
Hasil Adkins,
B.T. Express,
Basic Channel,
Glenn Branca,
Röyhkä ja Rättö ja Lehtisalo,
Kerrie Biddell,
Public Image Ltd.,
The Pop Group,
Avey Tare & Kría Brekkan,
Warsaw,
Robert Hood,
The Cowsills,
Absolute Body Control,
Crispy Ambulance,
Curtis Mayfield,
Sun Ra,
Teenage Jesus and the Jerks,
Ronnie Foster,
Minny Pops,
the Fania All-Stars,
The Chocolate Watch Band,
June Days,
Gian Franco Pienzio,
Masters at Work,
Blancmange,
The Knickerbockers, The Knickerbockers, The Knickerbockers, The Knickerbockers.
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.