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 Dominican Republic and from Mumbai.
But I was there.
I was there in 1968.
I was there at the first Can show in Cologne.
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 1975.
I'm losing my edge.
To all the kids in Toronto and Houston.
I'm losing my edge to the art-school Johannesburg 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 harpsichord 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 Albert Ayler to the disco kids.
I played it at the Troubador.
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 Barclay James Harvest. All the underground hits.
All Amazonics tracks. I heard you have a vinyl of every Erasure record on German import.
I heard that you have a white label of every seminal punk 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 mellotron and a synthesizer 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 clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Orchestral Manoeuvres in the Dark,
Al Stewart,
Dual Sessions,
Easy Going,
T.S.O.L.,
Barclay James Harvest,
DNA,
The Velvet Underground,
Lungfish,
The Royal Family And The Poor,
The Fuzztones,
Monolake,
Liaisons Dangereuses,
Aswad,
Clear Light,
Adolescents,
ABC,
Gastr Del Sol,
Bizarre Inc.,
Infiniti,
Wolf Eyes,
Rowland S Howard / Lydia Lunch,
Lakeside,
Bauhaus,
David Bowie,
Quadrant,
Lalo Schifrin,
Excepter,
The Dave Clark Five,
Nico,
Funkadelic,
Anthony Braxton,
Hashim,
Kings Of Tomorrow,
Susan Cadogan,
Sam Rivers,
Janne Schatter,
Man Parrish,
Bronski Beat,
Talk Talk,
Arcadia,
Prince Buster,
The Vogues,
Wire,
Robert Görl,
Fela Kuti,
Bobby Womack,
Ralphi Rosario,
Nick Fraelich,
Grauzone,
Jeff Lynne,
Q65,
the Sonics,
Nation of Ulysses,
Whodini,
Reuben Wilson,
Barrington Levy,
Monks,
Lou Reed & Metallica,
The Count Five,
The Dirtbombs,
Kaleidoscope, Kaleidoscope, Kaleidoscope, Kaleidoscope.
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.