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 Guyana and from Columbus.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1968 to 1972.
I'm losing my edge.
To all the kids in Woodstock and Philadelphia.
I'm losing my edge to the art-school Accra 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 1976 at the first Wire practice in a loft in Watford.
I was working on the linndrum 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 Manfred Mann's Earth Band to the techno kids.
I played it at the Crocodile.
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 Dark Day. All the underground hits.
All Tomorrow tracks. I heard you have a vinyl of every Yazoo 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 '80s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Television record.
I hear that you and your band have sold your spring reverb and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Matthew Bourne,
Rowland S Howard / Lydia Lunch,
Public Image Ltd.,
The Cowsills,
The Remains,
The Flesh Eaters,
Kango’s Stein Massive,
Marvin Gaye,
Dawn Penn,
Magma,
Faust,
Mark Hollis,
Scientists,
The Real Kids,
Kayak,
Parry Music,
Ronan,
Crooked Eye,
Jerry Gold Smith,
Throbbing Gristle,
The Cure,
Joyce Sims,
The Smoke,
Fear,
Ralphi Rosario,
Circle Jerks,
Fela Kuti,
The Zeros,
Television,
Half Japanese,
The Invisible,
Jimmy McGriff,
Peter and Kerry,
Nirvana,
The Chocolate Watch Band,
Youth Brigade,
FM Einheit,
Pagans,
Deakin,
Fifty Foot Hose,
The Grass Roots,
Joy Division,
Angry Samoans,
Cal Tjader,
Iggy Pop,
Agent Orange,
Bronski Beat,
Quantec,
Infiniti,
The Offenders,
Los Fastidios,
The Misunderstood,
Arcadia,
The Star Department,
Avey Tare's Slasher Flicks,
Rod Modell,
Supertramp,
Scion,
Ludus,
Bang On A Can,
Deepchord,
Michelle Simonal, Michelle Simonal, Michelle Simonal, Michelle Simonal.
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.