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 New Zealand and from Copenhagen.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1960 to 1972.
I'm losing my edge.
To all the kids in Manchester and Calgary.
I'm losing my edge to the art-school New York 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 spring reverb 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 Lalann to the electroclash kids.
I played it at CBGB's.
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 John Coltrane. All the underground hits.
All The Detroit Cobras tracks. I heard you have a vinyl of every Q65 record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a güiro and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Moby Grape record.
I hear that you and your band have sold your snare and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a snare.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Neu!,
Young Marble Giants,
Pharaoh Sanders and the Fire Engines,
Rekid,
Lizzy Mercier Descloux,
Negative Approach,
Parry Music,
The Red Krayola,
Spoonie Gee,
L. Decosne,
Ultravox,
The Monks,
Lou Christie,
Skaos,
This Heat,
The Blues Magoos,
Dead Boys,
Girls At Our Best!,
Angry Samoans,
Gerry Rafferty,
June of 44,
Cameo,
Alison Limerick,
Sister Nancy,
Scott Walker,
Soft Cell,
Scion,
In Retrospect,
Sugar Minott,
Minor Threat,
Shuggie Otis,
Q65,
Nick Fraelich,
Oppenheimer Analysis,
The Divine Comedy,
Be Bop Deluxe,
Alphaville,
Captain Beefheart & His Magic Band,
The Fall,
Stereo Dub,
Maleditus Sound,
MDC,
Youth Brigade,
Lou Reed & John Cale,
Harry Pussy,
Gregory Isaacs,
Bobbi Humphrey,
Orchestral Manoeuvres in the Dark,
Slick Rick,
FM Einheit,
Von Mondo,
X-102,
Mr. Review,
Roxette,
Eric B and Rakim,
John Coltrane,
Television,
Inner City,
The Evens,
The Toasters,
The Golliwogs, The Golliwogs, The Golliwogs, The Golliwogs.
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.