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 Tanzania and from Copenhagen.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1969 to 1971.
I'm losing my edge.
To all the kids in Beijing and Stockholm.
I'm losing my edge to the art-school Lille 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 organ 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 Monks to the electroclash kids.
I played it at the Roxy.
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 Slits. All the underground hits.
All Jacques Brel tracks. I heard you have a vinyl of every Brothers Johnson record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a sitar and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Marcia Griffiths record.
I hear that you and your band have sold your clarinet and bought a snare.
I hear that you and your band have sold your snare and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Theoretical Girls,
Lebanon Hanover,
The West Coast Pop Art Experimental Band,
Jacques Brel,
Marine Girls,
cv313,
Oblivians,
The Modern Lovers,
Blake Baxter,
Lungfish,
Roxette,
Model 500,
Scrapy,
Cecil Taylor,
Piero Umiliani,
Bauhaus,
Monolake,
Gil Scott-Heron and Jamie xx,
Pet Shop Boys,
The Peanut Butter Conspiracy,
ABC,
Masters at Work,
Terrestrial Tones,
Bob Dylan,
Unwound,
Popol Vuh,
Vainqueur,
Glambeats Corp.,
B.T. Express,
Sex Pistols,
Boz Scaggs,
Chris & Cosey,
Dorothy Ashby,
Bang On A Can,
Bad Manners,
The Five Americans,
The Fortunes,
The Alarm Clocks,
Danielle Patucci,
Black Bananas,
These Immortal Souls,
The Fugs,
Ice-T,
Ten City,
Fifty Foot Hose,
Rhythim Is Rhythim,
Magazine,
Ornette Coleman,
Soft Machine,
Half Japanese,
Captain Beefheart & His Magic Band,
Neil Young,
Be Bop Deluxe,
Visionaries,LMNO, T- Love & Iriscience,
Michelle Simonal,
Nick Fraelich,
Dawn Penn,
The Invisible,
Public Image Ltd.,
MDC,
Babytalk, Babytalk, Babytalk, Babytalk.
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.