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 Panama and from Toronto.
But I was there.
I was there in 1980.
I was there at the first Cybotron show in Detroit.
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 1979.
I'm losing my edge.
To all the kids in Houston and Halifax.
I'm losing my edge to the art-school Delhi 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the mellotron sounds with much patience.
I was there when David Bowie 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 Ornette Coleman to the dance kids.
I played it at the Hacienda.
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 The Gap Band. All the underground hits.
All Gian Franco Pienzio tracks. I heard you have a vinyl of every Siouxsie and the Banshees 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 '60s cut and another box set from the '70s.
I hear you're buying an organ and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Godley & Creme record.
I hear that you and your band have sold your synthesizer and bought a 808.
I hear that you and your band have sold your 808 and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Electric Light Orchestra,
Brass Construction,
Donald Byrd,
Fat Boys,
Ten City,
Laurel Aitken,
the Normal,
June of 44,
Oppenheimer Analysis,
the Slits,
The Pop Group,
The Smiths,
Maurizio,
Robert Wyatt,
Harry Pussy,
Fear,
The Busters,
Althea and Donna,
The Dave Clark Five,
The Gun Club,
Fad Gadget,
X-101,
Niagra,
Sly & The Family Stone,
Jacques Brel,
The Evens,
Flamin' Groovies,
The Cramps,
Talk Talk,
Slave,
Boz Scaggs,
Rahsaan Roland Kirk,
the Swans,
Warsaw,
Joe Finger,
Bronski Beat,
Skaos,
Cecil Taylor,
Trumans Water,
Brick,
The United States of America,
Altered Images,
Crash Course in Science,
Clear Light,
Spoonie Gee,
Scott Walker,
The Red Krayola,
Freddie Wadling,
Glambeats Corp.,
The Residents,
The Trojans,
Bizarre Inc.,
Tim Buckley,
Gang of Four,
The Grass Roots,
Eyeless In Gaza,
F. McDonald,
Supertramp,
The Wake,
Peter and Kerry,
10cc,
Visage,
Eurythmics,
Roxette, Roxette, Roxette, Roxette.
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.