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 Swaziland and from London.
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 1967 to 1973.
I'm losing my edge.
To all the kids in Hong Kong and Bologna.
I'm losing my edge to the art-school Toronto 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 arpeggiator sounds with much patience.
I was there when David Bowie 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 Howard Jones to the dance kids.
I played it at the Troubador.
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 Robert Wyatt. All the underground hits.
All Monks tracks. I heard you have a vinyl of every Flamin' Groovies 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 '50s cut and another box set from the '70s.
I hear you're buying a rhodes and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Bauhaus record.
I hear that you and your band have sold your sitar and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
Crooked Eye,
Lonnie Liston Smith,
Marvin Gaye,
Glenn Branca,
Lafayette Afro Rock Band,
The Doors,
Scratch Acid,
Frankie Knuckles,
Marcia Griffiths,
Pylon,
Zero Boys,
Blossom Toes,
David McCallum,
Eurythmics,
Can,
Jeff Lynne,
The Move,
Quando Quango,
Q and Not U,
Bizarre Inc.,
Anakelly,
Connie Case,
Monks,
Rod Modell,
R.M.O.,
Half Japanese,
Eddi Front,
OOIOO,
Junior Murvin,
Zapp,
Crime,
Brothers Johnson,
Sun Ra,
Subhumans,
The Fire Engines,
Sun City Girls,
Make Up,
Sad Lovers and Giants,
Camberwell Now,
New York Dolls,
Ultra Naté,
ABBA,
Japan,
Minny Pops,
The West Coast Pop Art Experimental Band,
The Techniques,
Hoover,
Manfred Mann's Earth Band,
The Misunderstood,
Eve St. Jones,
Agent Orange,
Swell Maps,
Skaos,
Deepchord,
Lightning Bolt,
Rapeman,
Cal Tjader,
The Remains,
Sly & The Family Stone,
Mary Jane Girls,
Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza, Eyeless In Gaza.
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.