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 Slovenia and from Bologna.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1963 to 1976.
I'm losing my edge.
To all the kids in Salvador and Stockholm.
I'm losing my edge to the art-school Copenhagen 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 snare sounds with much patience.
I was there when Michael McDonald 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 Neil Young & Crazy Horse to the rock kids.
I played it at the Troubador.
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 Golliwogs. All the underground hits.
All Bush Tetras tracks. I heard you have a vinyl of every Sarah Menescal record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a spring reverb and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Cecil Taylor record.
I hear that you and your band have sold your synthesizer and bought a rhodes.
I hear that you and your band have sold your rhodes and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
De La Soul & Jungle Brothers,
Lou Reed & Metallica,
Sad Lovers and Giants,
Maleditus Sound,
The Royal Family And The Poor,
Lou Christie,
Ossler,
The Fire Engines,
Theoretical Girls,
The Smiths,
The Evens,
Anakelly,
DJ Sneak,
Mr. Review,
Robert Görl,
Amazonics,
The Gladiators,
Mark Hollis,
Nils Olav,
U.S. Maple,
Brass Construction,
The Trojans,
Stiv Bators,
The Chocolate Watch Band,
The Smoke,
Gichy Dan,
The Techniques,
Sonic Youth,
Kurtis Blow,
Avey Tare's Slasher Flicks,
Tubeway Army,
Niagra,
Kerrie Biddell,
Au Pairs,
The Pop Group,
Morten Harket,
Arab on Radar,
Joe Smooth,
Icehouse,
Todd Terry,
Shuggie Otis,
Roger Hodgson,
Black Moon,
Connie Case,
Jeff Lynne,
Index,
The Mojo Men,
Sight & Sound,
Bush Tetras,
Wire,
Symarip,
Excepter,
Rufus Thomas,
Danielle Patucci,
Scrapy,
Roy Ayers Ubiquity,
Grey Daturas,
Bobby Sherman,
Little Man,
The Fuzztones,
Howard Jones, Howard Jones, Howard Jones, Howard Jones.
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.