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 Gabon and from Portland.
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 1971.
I'm losing my edge.
To all the kids in Edmonton and Philadelphia.
I'm losing my edge to the art-school Manchester 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 1978 at the first Visage practice in a loft in London.
I was working on the oboe sounds with much patience.
I was there when Lou Reed 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 The Detroit Cobras to the funk 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 Oppenheimer Analysis. All the underground hits.
All Con Funk Shun tracks. I heard you have a vinyl of every Metal Thangz record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a clarinet and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Red Krayola record.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The West Coast Pop Art Experimental Band,
48th St. Collective,
Infiniti,
Nico,
Drexciya,
Joey Negro,
Essential Logic,
Radio Birdman,
Ultra Naté,
Blake Baxter,
The Barracudas,
The Music Machine,
Johnny Clarke,
FM Einheit,
Sex Pistols,
Echospace,
Crooked Eye,
Depeche Mode,
Camron Feat. Memphis Bleek And Beenie Seigel,
Sun City Girls,
Marc Almond,
It's A Beautiful Day,
Radiopuhelimet,
Danielle Patucci,
Lou Reed & John Cale,
10cc,
Wings,
The Electric Prunes,
Clear Light,
The Selecter,
Guru Guru,
8 Eyed Spy,
The Residents,
Kaleidoscope,
Rhythm & Sound,
Cecil Taylor,
Tres Demented,
Thee Headcoats,
the Slits,
Dorothy Ashby,
Lafayette Afro Rock Band,
The Smoke,
Bang on a Can All-Stars,
Malaria!,
Agent Orange,
The Doors,
Jawbox,
Lyres,
Fela Kuti,
Mo-Dettes,
Ralphi Rosario,
Lightning Bolt,
Con Funk Shun,
Silicon Teens,
Qualms,
Sight & Sound,
The Sisters of Mercy,
Slave,
Fugazi,
Tommy Roe,
Monks,
Shoche,
Marmalade, Marmalade, Marmalade, Marmalade.
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.