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 Zimbabwe and from Seoul.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1964 to 1970.
I'm losing my edge.
To all the kids in Paris and Milan.
I'm losing my edge to the art-school Spokane 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 Radio Birdman to the rock kids.
I played it at the Spitz.
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 Blackbyrds. All the underground hits.
All Massinfluence tracks. I heard you have a vinyl of every The Knickerbockers record on German import.
I heard that you have a white label of every seminal jazz 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 sitar and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Birthday Party record.
I hear that you and your band have sold your chamberlin and bought a sitar.
I hear that you and your band have sold your sitar and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Doors,
Neu!,
Los Fastidios,
Scan 7,
the Fania All-Stars,
Fad Gadget,
Crispian St. Peters,
Echo & the Bunnymen,
Bob Dylan,
Althea and Donna,
Neil Young & Crazy Horse,
Ten City,
Jeff Mills,
The Dave Clark Five,
Dark Day,
Albert Ayler,
The Walker Brothers,
Basic Channel,
Rhythm & Sound,
In Retrospect,
Kenny Larkin,
Von Mondo,
Rotary Connection,
Freddie Wadling,
Roxy Music,
The Beau Brummels,
Wally Richardson,
Tubeway Army,
Cal Tjader,
Reagan Youth,
X-Ray Spex,
Nick Fraelich,
Porter Ricks,
Roy Ayers,
Colin Newman,
the Human League,
Black Pus,
Brick,
U.S. Maple,
Deutsch Amerikanische Freundschaft,
EPMD,
Arthur Verocai,
Lindisfarne,
Cecil Taylor,
The Neon Judgement,
Henry Cow,
Magma,
Bizarre Inc.,
The Stooges,
A Flock of Seagulls,
Organ,
Public Image Ltd.,
Howard Jones,
Mark Hollis,
The West Coast Pop Art Experimental Band,
Andrew Ashong & Theo Parrish,
Inner City,
The Moleskins, The Moleskins, The Moleskins, The Moleskins.
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.