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 Russia and from Glasgow.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Beijing and Mexico City.
I'm losing my edge to the art-school Manila 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 1983 at the first Lewis practice in a loft in Vancouver.
I was working on the snare sounds with much patience.
I was there when Robert Palmer 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 Electric Light Orchestra 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 Fat Boys. All the underground hits.
All Isaac Hayes tracks. I heard you have a vinyl of every OOIOO record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a clarinet and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Louis and Bebe Barron record.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Mission of Burma,
Graham Central Station,
Japan,
Scott Walker,
Idris Muhammad,
Brass Construction,
Ornette Coleman,
Eyeless In Gaza,
Half Japanese,
Lou Reed & John Cale,
Deutsch Amerikanische Freundschaft,
Kas Product,
Zapp,
Hardrive,
Symarip,
Jandek,
Unwound,
Porter Ricks,
Moss Icon,
Donald Byrd,
Alton Ellis,
Tears for Fears,
Crooked Eye,
Camouflage,
Model 500,
Stiv Bators,
David Bowie,
MDC,
The West Coast Pop Art Experimental Band,
Rotary Connection,
Röyhkä ja Rättö ja Lehtisalo,
Animal Collective,
Dennis Brown,
Justin Hinds & The Dominoes,
Pantytec,
Outsiders,
Arab on Radar,
Vaughan Mason & Crew,
T.S.O.L.,
The Stooges,
Make Up,
Blancmange,
The Red Krayola,
Soft Cell,
Essential Logic,
Warsaw,
Lightning Bolt,
Second Layer,
The Angels of Light,
Man Eating Sloth,
Peter and Kerry,
Ronan,
Major Organ And The Adding Machine,
John Cale,
Arthur Verocai,
The Men They Couldn't Hang,
The Alarm Clocks,
Toni Rubio,
The Fire Engines,
Eurythmics,
Public Enemy,
The Fugs,
Gang Gang Dance,
Eric Copeland, Eric Copeland, Eric Copeland, Eric Copeland.
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.