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 Guatemala and from Bremen.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1976.
I'm losing my edge.
To all the kids in Jakarta and Lyon.
I'm losing my edge to the art-school Mumbai 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 harpsichord 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 Lou Reed & John Cale to the crunk kids.
I played it at Trash.
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 Pretty Things. All the underground hits.
All The Monks tracks. I heard you have a vinyl of every Man Parrish record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a chamberlin and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a a-ha record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Das Ding,
Chris Corsano,
Sad Lovers and Giants,
Arcadia,
Pantytec,
Stereo Dub,
Junior Murvin,
Erasure,
De La Soul & Jungle Brothers,
Dawn Penn,
Rhythm & Sound,
Avey Tare & Kría Brekkan,
Intrusion,
Donald Byrd,
F. McDonald,
The Gap Band,
Siouxsie and the Banshees,
Rod Modell,
June of 44,
Agitation Free,
Oblivians,
The Monks,
In Retrospect,
Deakin,
Fat Boys,
Bronski Beat,
Los Fastidios,
EPMD,
Cheater Slicks,
Terrestrial Tones,
The Leaves,
The Human League,
Electric Prunes,
Swell Maps,
Sun Ra Arkestra,
Tomorrow,
Justin Hinds & The Dominoes,
Young Marble Giants,
The Sonics,
The Gun Club,
Jeru the Damaja,
Rotary Connection,
The Cowsills,
Dead Boys,
Supertramp,
Panda Bear,
Maurizio,
the Human League,
Man Parrish,
Anakelly,
Spoonie Gee,
Althea and Donna,
Ornette Coleman,
David McCallum,
Gabor Szabo,
Matthew Halsall,
Godley & Creme,
Grandmaster Flash,
Ultravox,
Ossler,
Jesper Dahlbäck,
Yaz,
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.