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 Algeria and from Manila.
But I was there.
I was there in 1984.
I was there at the first Arcadia show in London.
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 1965 to 1979.
I'm losing my edge.
To all the kids in Lyon and Beijing.
I'm losing my edge to the art-school Taipei 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 oboe 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 The Doors to the grunge kids.
I played it at Cafe Wha.
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 Charles Mingus. All the underground hits.
All Oppenheimer Analysis tracks. I heard you have a vinyl of every Masters at Work 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 '70s.
I hear you're buying a sitar and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Minnie Riperton record.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
John Foxx,
Red Lorry Yellow Lorry,
Nirvana,
Flamin' Groovies,
Soft Cell,
Pantytec,
Pete Rock & C.L. Smooth,
The Pretty Things,
Barrington Levy,
Pole,
Loose Ends,
Franke,
The Blackbyrds,
Lee Hazlewood,
Organ,
Babytalk,
Con Funk Shun,
Grandmaster Flash,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
The Detroit Cobras,
8 Eyed Spy,
Fad Gadget,
Circle Jerks,
LL Cool J,
Matthew Halsall,
John Lydon,
Erykah Badu,
Robert Wyatt,
Crime,
Shuggie Otis,
Aswad,
Swans,
The American Breed,
Massinfluence,
Index,
Amazonics,
Roy Ayers Ubiquity,
the Association,
The Men They Couldn't Hang,
Lakeside,
Siouxsie and the Banshees,
Q65,
Scion,
The Zeros,
Rakim,
D'Angelo,
Chris Corsano,
Ronan,
The Doobie Brothers,
The Moleskins,
Ajijia Myrayebe,
EPMD,
The Human League,
Cabaret Voltaire,
Al Stewart,
Kevin Saunderson,
The Mojo Men,
Black Moon,
Tubeway Army, Tubeway Army, Tubeway Army, Tubeway Army.
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.