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 Turkey and from Johannesburg.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1962 to 1978.
I'm losing my edge.
To all the kids in Spokane and Spokane.
I'm losing my edge to the art-school Winnipeg 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 clarinet 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 Al Stewart to the grunge kids.
I played it at Cafe Wha.
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 Country Joe & The Fish. All the underground hits.
All Donald Byrd tracks. I heard you have a vinyl of every Mark Hollis 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 '50s cut and another box set from the '90s.
I hear you're buying an oboe and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Make Up record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Age Steppers,
Essential Logic,
Graham Central Station,
Supertramp,
Maleditus Sound,
Pole,
Parry Music,
DJ Sneak,
Aloha Tigers,
Zapp,
Schoolly D,
Eric B and Rakim,
La Düsseldorf,
Moss Icon,
Cybotron,
Tropical Tobacco,
Bobby Byrd,
Marine Girls,
The Sound,
Kool Moe Dee,
The Zeros,
KRS-One,
Popol Vuh,
Joey Negro,
Fluxion,
Harry Pussy,
The Fortunes,
Panda Bear,
Radio Birdman,
Grey Daturas,
U.S. Maple,
Matthew Bourne,
10cc,
Dawn Penn,
Stereo Dub,
Fad Gadget,
Sad Lovers and Giants,
Neil Young,
Faust,
the Normal,
Q65,
Selector Dub Narcotic,
Jandek,
Mark Hollis,
Moebius,
Kerri Chandler,
Rowland S Howard / Lydia Lunch,
Prince Buster,
Gichy Dan,
Organ,
Jeff Lynne,
June of 44,
Black Flag,
Agent Orange,
The Motions,
Altered Images,
Unwound,
Sarah Menescal,
Bang on a Can All-Stars,
Janne Schatter,
Gang of Four,
Sight & Sound,
Tears for Fears,
Alison Limerick, Alison Limerick, Alison Limerick, Alison Limerick.
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.