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 Botswana and from Seoul.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1968 to 1973.
I'm losing my edge.
To all the kids in Lyon and Johannesburg.
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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the synthesizer 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 Average White Band to the jazz kids.
I played it at the 40 Watt.
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 John Lydon. All the underground hits.
All Mary Jane Girls tracks. I heard you have a vinyl of every Hasil Adkins 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 '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Kevin Saunderson record.
I hear that you and your band have sold your synthesizer and bought a sitar.
I hear that you and your band have sold your sitar and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eric B and Rakim,
Morten Harket,
Blancmange,
Heavy D & The Boyz,
Bang on a Can All-Stars,
Rowland S Howard / Lydia Lunch,
Section 25,
Roy Ayers,
Thinking Fellers Union Local 282,
Arthur Verocai,
Tropical Tobacco,
Au Pairs,
Peter Gordon & Love of Life Orchestra,
Vainqueur,
Amon Düül II,
the Swans,
Bobby Womack,
Marc Almond,
Wasted Youth,
Young Marble Giants,
Moebius,
The Velvet Underground,
The Count Five,
Laurel Aitken,
F. McDonald,
Black Sheep,
Marcia Griffiths,
Soft Cell,
Basic Channel,
Deadbeat,
Todd Rundgren,
Stetsasonic,
The Associates,
Country Teasers,
Clear Light,
Alton Ellis,
Suburban Knight,
Sound Behaviour,
Amon Düül,
Sugar Minott,
The Misunderstood,
Technova,
Siouxsie and the Banshees,
Leonard Cohen,
Gerry Rafferty,
Sandy B,
The Standells,
Q65,
Symarip,
cv313,
Rites of Spring,
A Flock of Seagulls,
The Victims,
Josef K,
Idris Muhammad,
Oneida,
Crash Course in Science,
Moby Grape,
Crispy Ambulance,
Warsaw, Warsaw, Warsaw, Warsaw.
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.