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 Macedonia and from Madrid.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
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 1961 to 1979.
I'm losing my edge.
To all the kids in Bologna and London.
I'm losing my edge to the art-school Taipei 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 linndrum 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 Television Personalities to the grime 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 John Foxx. All the underground hits.
All Chris & Cosey tracks. I heard you have a vinyl of every Con Funk Shun 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 '70s cut and another box set from the '80s.
I hear you're buying a marimba and a linndrum and are throwing your macbook out the window because you want to make something real. You want to make a Moss Icon record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Saccharine Trust,
Sound Behaviour,
Johnny Osbourne,
Ornette Coleman,
Lyres,
Crispian St. Peters,
La Düsseldorf,
Gregory Isaacs,
Alphaville,
Richard Hell and the Voidoids,
Easy Going,
The Smiths,
Youth Brigade,
Bronski Beat,
Gary Puckett & The Union Gap,
Swans,
Andrew Ashong & Theo Parrish,
The Alarm Clocks,
New Age Steppers,
Brick,
Amon Düül II,
Jawbox,
Dual Sessions,
Joensuu 1685,
Angels of Light & Akron/Family,
the Normal,
Brass Construction,
Talk Talk,
Rapeman,
Smog,
Lou Reed,
Von Mondo,
Popol Vuh,
AZ,
Babytalk,
Aloha Tigers,
Lafayette Afro Rock Band,
the Soft Cell,
kango's stein massive,
Hoover,
Ten City,
Kevin Saunderson,
Oblivians,
Arthur Verocai,
Rites of Spring,
Isaac Hayes,
Big Daddy Kane,
H. Thieme,
Crime,
James White and The Blacks,
Slave,
Quando Quango,
Glambeats Corp.,
James Chance & The Contortions,
Aural Exciters,
The Associates,
Pussy Galore,
Echo & the Bunnymen,
The Buckinghams,
The Gladiators,
Gastr Del Sol,
Public Enemy,
Juan Atkins,
Soul II Soul,
Swell Maps, Swell Maps, Swell Maps, Swell Maps.
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.