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 Micronesia and from Lyon.
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 1960 to 1975.
I'm losing my edge.
To all the kids in Philadelphia and Toronto.
I'm losing my edge to the art-school Philadelphia 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 1980 at the first Cybotron practice in a loft in Detroit.
I was working on the mellotron sounds with much patience.
I was there when Michael McDonald 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 Susan Cadogan 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 Excepter. All the underground hits.
All New York Dolls tracks. I heard you have a vinyl of every Eurythmics record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a chamberlin and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Massinfluence record.
I hear that you and your band have sold your chamberlin and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Excepter,
Stereo Dub,
World's Most,
Todd Rundgren,
Echo & the Bunnymen,
The Barracudas,
Hardrive,
The Shadows of Knight,
Boz Scaggs,
Blancmange,
Lou Reed & John Cale,
Marcia Griffiths,
Country Teasers,
Ash Ra Tempel,
Qualms,
Gil Scott-Heron & Brian Jackson,
Peter and Kerry,
Con Funk Shun,
Sonic Youth,
Black Sheep,
Nils Olav,
a-ha,
The Pop Group,
Joe Smooth,
Terry Callier,
The Real Kids,
Matthew Bourne,
Rufus Thomas,
The Associates,
The Beau Brummels,
Youth Brigade,
Can,
John Cale,
The Human League,
The Blues Magoos,
Marvin Gaye,
Richard Hell and the Voidoids,
Drive Like Jehu,
The Peanut Butter Conspiracy,
Banda Bassotti,
Suicide,
Fear,
DNA,
The Remains,
The Buckinghams,
Boogie Down Productions,
Warsaw,
Moss Icon,
Sister Nancy,
Gastr Del Sol,
The Mighty Diamonds,
Quantec,
Icehouse,
The Gun Club,
Gabor Szabo,
David Axelrod,
Crime,
Morten Harket,
K-Klass, K-Klass, K-Klass, K-Klass.
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.