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 Papua New Guinea and from Mexico City.
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 1979.
I'm losing my edge.
To all the kids in Lille and Halifax.
I'm losing my edge to the art-school Paris 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 mellotron 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 Wings to the crunk kids.
I played it at the Astoria.
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 Cure. All the underground hits.
All Bobby Womack tracks. I heard you have a vinyl of every The Skatalites 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 '80s.
I hear you're buying a synthesizer and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a Yellowson record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Schoolly D,
The Moody Blues,
Blancmange,
Marc Almond,
Accadde A,
Susan Cadogan,
Eve St. Jones,
Zapp,
Kerri Chandler,
Marmalade,
Royal Trux,
Man Parrish,
the Germs,
Soulsonic Force,
Eden Ahbez,
The Star Department,
Piero Umiliani,
X-Ray Spex,
Gerry Rafferty,
The J.B.'s,
Con Funk Shun,
Chrome,
the Bar-Kays,
Marine Girls,
Deepchord,
The Gap Band,
Symarip,
Gregory Isaacs,
Orchestral Manoeuvres in the Dark,
Brick,
Robert Görl,
Slick Rick,
Aswad,
Bill Wells,
Funkadelic,
Section 25,
Siouxsie and the Banshees,
Danielle Patucci,
Kerrie Biddell,
The Velvet Underground,
London Community Gospel Choir,
Young Marble Giants,
Bootsy's Rubber Band,
Wings,
Liliput,
Pete Rock & C.L. Smooth,
the Normal,
Moby Grape,
Archie Shepp,
Neil Young & Crazy Horse,
Derrick Morgan,
Harpers Bizarre,
Bill Near,
The Misunderstood,
Sight & Sound,
Liaisons Dangereuses,
Marcia Griffiths,
Index,
The Flesh Eaters,
Dead Boys,
Jandek, Jandek, Jandek, Jandek.
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.