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 Macedonia and from Madrid.
But I was there.
I was there in 1976.
I was there at the first Soft Boys show in Cambridge.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Glasgow and Columbus.
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 sitar sounds with much patience.
I was there when Lou Reed 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 Pere Ubu to the grunge 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 The Happenings. All the underground hits.
All Sticky Fingaz feat. Raekwon tracks. I heard you have a vinyl of every John Lydon 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 '70s.
I hear you're buying a synthesizer and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Procol Harum record.
I hear that you and your band have sold your snare and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Angels of Light & Akron/Family,
Roy Ayers Ubiquity,
Masters at Work,
Skaos,
Reagan Youth,
Guru Guru,
Gregory Isaacs,
Brothers Johnson,
Alton Ellis,
Nils Olav,
Cybotron,
Pet Shop Boys,
Blossom Toes,
Cameo,
Teenage Jesus and the Jerks,
Avey Tare's Slasher Flicks,
Slick Rick,
K-Klass,
Hoover,
Stereo Dub,
the Human League,
Bootsy Collins,
Man Parrish,
Procol Harum,
Livin' Joy,
Gabor Szabo,
Glenn Branca,
The Chocolate Watch Band,
Judy Mowatt,
Ornette Coleman,
Rites of Spring,
Television,
Fifty Foot Hose,
Arab on Radar,
AZ,
New York Dolls,
The Music Machine,
The Associates,
Nick Fraelich,
Stockholm Monsters,
Kayak,
Spoonie Gee,
Roger Hodgson,
Half Japanese,
The Walker Brothers,
Morten Harket,
Icehouse,
The Vogues,
Stiv Bators,
Adolescents,
Electric Light Orchestra,
Sparks,
Kenny Larkin,
Jimmy McGriff,
The New Christs,
Interpol,
Crispy Ambulance,
Grandmaster Flash,
Lalo Schifrin,
R.M.O.,
Swell Maps, Swell Maps, Swell Maps, Swell Maps.
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.