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 Bangladesh and from Delhi.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1965 to 1973.
I'm losing my edge.
To all the kids in Paris and Portland.
I'm losing my edge to the art-school Mumbai 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 1977 at the first Zapp practice in a loft in Hamilton.
I was working on the oboe sounds with much patience.
I was there when Holger Czukay 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 The Dead C to the dance 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 Roxy Music. All the underground hits.
All Major Organ And The Adding Machine tracks. I heard you have a vinyl of every Rekid record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Television record.
I hear that you and your band have sold your linndrum and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Count Five,
Albert Ayler,
The Toasters,
Sister Nancy,
Rod Modell,
Mo-Dettes,
The Stooges,
Q65,
Carl Craig,
Alton Ellis,
Flipper,
June Days,
Brothers Johnson,
Judy Mowatt,
Main Source,
Fluxion,
Inner City,
The Fortunes,
Camberwell Now,
Brick,
Lou Reed,
Arthur Verocai,
Lower 48,
MC5,
Deakin,
The Leaves,
The Moody Blues,
Dennis Brown,
The Remains,
Roger Hodgson,
The Kinks,
Ohio Players,
Kenny Larkin,
Marcia Griffiths,
Porter Ricks,
Royal Trux,
Teenage Jesus and the Jerks,
Slave,
Rufus Thomas,
Eurythmics,
Country Joe & The Fish,
Dead Boys,
Buzzcocks,
Bronski Beat,
Echospace,
Supertramp,
Depeche Mode,
KRS-One,
Nico,
Anthony Braxton,
PIL,
Lizzy Mercier Descloux,
Slick Rick,
Sly & The Family Stone,
Zapp,
A Flock of Seagulls,
Roy Ayers Ubiquity,
Skarface,
Zero Boys,
Siglo XX,
Mr. Review,
The Knickerbockers,
Junior Murvin,
The Grass Roots,
Radiohead, Radiohead, Radiohead, Radiohead.
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.