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 Malaysia and from Columbus.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1962 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Tehran.
I'm losing my edge to the art-school Johannesburg 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 marimba 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 Traffic Nightmare to the funk kids.
I played it at the 40 Watt.
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 Scott Walker + Sunn O))). All the underground hits.
All Alphaville tracks. I heard you have a vinyl of every The Men They Couldn't Hang 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 '70s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Albert Ayler record.
I hear that you and your band have sold your theremin and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Zeros,
Ossler,
Godley & Creme,
Alison Limerick,
CMW,
The Alarm Clocks,
The Sisters of Mercy,
Lou Christie,
Flamin' Groovies,
The Selecter,
Arcadia,
The Standells,
Reuben Wilson,
One Last Wish,
Thompson Twins,
Chris & Cosey,
Kerrie Biddell,
Marmalade,
Nirvana,
Letta Mbulu,
Gil Scott-Heron & Brian Jackson,
Hashim,
Roy Ayers Ubiquity,
Kaleidoscope,
Eddi Front,
The Five Americans,
Neil Young,
Terror Squad Feat. Camron,
Dark Day,
Angry Samoans,
Jerry Gold Smith,
X-Ray Spex,
Cabaret Voltaire,
Rhythm & Sound,
Severed Heads,
Bang On A Can,
Selector Dub Narcotic,
Slave,
Popol Vuh,
Sparks,
Amon Düül,
Marcia Griffiths,
The Index,
The Mighty Diamonds,
The Raincoats,
the Normal,
Bush Tetras,
Isaac Hayes,
Monolake,
Rotary Connection,
Nation of Ulysses,
Marc Almond,
Liaisons Dangereuses,
Dennis Brown,
The Detroit Cobras,
Todd Terry,
The Smiths,
Interpol,
Smog,
Cybotron,
Dorothy Ashby,
Lizzy Mercier Descloux,
The Cowsills, The Cowsills, The Cowsills, The Cowsills.
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.