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 United States and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1963 to 1979.
I'm losing my edge.
To all the kids in Woodstock and Hong Kong.
I'm losing my edge to the art-school Manila 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 808 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 Electric Prunes to the disco 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 Music Machine. All the underground hits.
All Youth Brigade tracks. I heard you have a vinyl of every Colin Newman record on German import.
I heard that you have a white label of every seminal electroclash 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 808 and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a Magazine record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Malaria!,
Yellowson,
Fat Boys,
Eric Dolphy,
Crime,
Kaleidoscope,
The Music Machine,
Glenn Branca,
The West Coast Pop Art Experimental Band,
Eurythmics,
Half Japanese,
U.S. Maple,
Manfred Mann's Earth Band,
Q65,
Pierre Henry,
Severed Heads,
Scott Walker + Sunn O))),
Pagans,
Gabor Szabo,
Los Fastidios,
Girls At Our Best!,
David Bowie,
Visionaries,LMNO, T- Love & Iriscience,
Barbara Tucker,
Lindisfarne,
Michelle Simonal,
L. Decosne,
Magma,
Saccharine Trust,
Cal Tjader,
Depeche Mode,
Intrusion,
Blossom Toes,
The Sonics,
The Cosmic Jokers,
Parry Music,
Scientists,
The Divine Comedy,
Maleditus Sound,
The Sound,
The Leaves,
John Coltrane,
The Monks,
Amazonics,
Television Personalities,
David Axelrod,
The Walker Brothers,
Fatback Band,
X-102,
Technova,
Sonny Sharrock,
Lou Christie,
Marshall Jefferson,
Inner City,
Neu!,
Rhythim Is Rhythim,
Circle Jerks,
Warren Ellis,
T. Rex,
Cluster,
The New Christs,
The Standells,
cv313, cv313, cv313, cv313.
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.