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 Czech Republic and from New York.
But I was there.
I was there in 1978.
I was there at the first Visage show in London.
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 1974.
I'm losing my edge.
To all the kids in Columbus and Columbus.
I'm losing my edge to the art-school Bologna 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 harpsichord sounds with much patience.
I was there when Donald Fagen 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 Excepter to the funk 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 Move. All the underground hits.
All Major Organ And The Adding Machine tracks. I heard you have a vinyl of every Model 500 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 '60s cut and another box set from the '90s.
I hear you're buying a güiro and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a the Fania All-Stars record.
I hear that you and your band have sold your chamberlin and bought a clarinet.
I hear that you and your band have sold your clarinet 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 Electric Prunes,
Flash Fearless,
Matthew Halsall,
Organ,
Robert Görl,
Lalann,
Piero Umiliani,
the Normal,
Joensuu 1685,
Ohio Players,
Ajijia Myrayebe,
Soul Sonic Force,
Letta Mbulu,
Skriet,
The Trojans,
Metal Thangz,
Johnny Osbourne,
Kevin Saunderson,
Bill Near,
Tomorrow,
UT,
Pierre Henry,
Barbara Tucker,
Fear,
Dead Boys,
Mary Jane Girls,
Faust,
The Associates,
Gabor Szabo,
Arab on Radar,
Beasts of Bourbon,
The Divine Comedy,
Public Image Ltd.,
Howard Jones,
Chris Corsano,
Rufus Thomas,
Eric Dolphy,
The Sound,
Fort Wilson Riot,
The Alarm Clocks,
Aural Exciters,
David McCallum,
The Detroit Cobras,
The Stooges,
Make Up,
The Beau Brummels,
Sad Lovers and Giants,
Jerry Gold Smith,
Anthony Braxton,
Cymande,
Bootsy's Rubber Band,
Sex Pistols,
One Last Wish,
Lou Reed & John Cale,
The Selecter,
Massinfluence,
Quando Quango,
Ralphi Rosario,
Tommy Roe,
Roxette,
Flamin' Groovies, Flamin' Groovies, Flamin' Groovies, Flamin' Groovies.
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.