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 Libya and from Columbus.
But I was there.
I was there in 1976.
I was there at the first Chic 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 1975.
I'm losing my edge.
To all the kids in Bologna and Glasgow.
I'm losing my edge to the art-school Glasgow 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 Chic practice in a loft in New York.
I was working on the mellotron sounds with much patience.
I was there when Lou Reed 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 Quando Quango to the electroclash kids.
I played it at the 40 Watt.
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 Reuben Wilson. All the underground hits.
All The Star Department tracks. I heard you have a vinyl of every The United States of America 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 '80s.
I hear you're buying a harpsichord and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a The Litter record.
I hear that you and your band have sold your sitar and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Crime,
Kerrie Biddell,
DeepChord presents Echospace,
Slick Rick,
Major Organ And The Adding Machine,
Lakeside,
Deakin,
Maurizio,
Main Source,
Nirvana,
Masters at Work,
Fear,
Pulsallama,
Radio Birdman,
Soulsonic Force,
Aaron Thompson,
The Residents,
Theoretical Girls,
The Toasters,
The Human League,
James White and The Blacks,
Neu!,
The Count Five,
Dead Boys,
The Mojo Men,
Blossom Toes,
The Standells,
Grandmaster Flash,
Whodini,
Shoche,
Avey Tare,
Nils Olav,
Sound Behaviour,
Jeff Mills,
Robert Görl,
The Remains,
The Birthday Party,
The Dead C,
The Saints,
Nation of Ulysses,
Thompson Twins,
Excepter,
Lightning Bolt,
Todd Rundgren,
Chris & Cosey,
The Tremeloes,
The Moody Blues,
PIL,
Franke,
Scientists,
Monolake,
Youth Brigade,
Joe Finger,
Prince Buster,
Charles Mingus,
This Heat,
The Knickerbockers,
Scratch Acid,
Bobby Sherman,
Gary Puckett & The Union Gap,
Ornette Coleman,
Groovy Waters, Groovy Waters, Groovy Waters, Groovy Waters.
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.