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 Spain and from Portland.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1962 to 1972.
I'm losing my edge.
To all the kids in Lille and Paris.
I'm losing my edge to the art-school Lagos 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 Donald Fagen 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 Marine Girls to the jazz 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 Underground Resistance. All the underground hits.
All Radio Birdman tracks. I heard you have a vinyl of every Marmalade record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a linndrum and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Bronski Beat record.
I hear that you and your band have sold your güiro and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a güiro.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Sun City Girls,
Neu!,
John Lydon,
Spandau Ballet,
X-102,
Henry Cow,
Vaughan Mason & Crew,
The Trojans,
Juan Atkins,
Wire,
Gian Franco Pienzio,
The Tremeloes,
Harry Pussy,
Unwound,
Coldchain, Rosco P., Featuring Pusha T from Clipse & Boo-Bonic,
Pharaoh Sanders and the Fire Engines,
The Moleskins,
Crime,
The Men They Couldn't Hang,
Ken Boothe,
Fela Kuti,
Thinking Fellers Union Local 282,
Jacques Brel,
Ossler,
Terry Callier,
LL Cool J,
Grandmaster Flash and the Furious Five,
Amon Düül,
Television Personalities,
The Pop Group,
Bob Dylan,
Wolf Eyes,
Section 25,
Subhumans,
Siouxsie and the Banshees,
Smog,
Index,
Bill Wells,
Saccharine Trust,
Sister Nancy,
The Index,
Peter and Kerry,
The Cure,
Moss Icon,
Dual Sessions,
Suburban Knight,
Sparks,
Fluxion,
Qualms,
Rahsaan Roland Kirk,
Marc Almond,
Matthew Halsall,
X-101,
Nick Fraelich,
Lakeside,
Ralphi Rosario,
Dorothy Ashby,
Mark Hollis,
Gang Gang Dance,
Scratch Acid, Scratch Acid, Scratch Acid, Scratch Acid.
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.