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 Argentina and from Copenhagen.
But I was there.
I was there in 1983.
I was there at the first Art of Noise 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 1964 to 1972.
I'm losing my edge.
To all the kids in Lyon and Tehran.
I'm losing my edge to the art-school Toronto 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 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 Mojo Men to the grunge kids.
I played it at the Spitz.
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 Marine Girls. All the underground hits.
All Bad Manners tracks. I heard you have a vinyl of every The Grass Roots record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a clarinet and a theremin 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 arpeggiator and bought a rhodes.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
New York Dolls,
DJ Sneak,
Avey Tare & Kría Brekkan,
Loose Ends,
Eyeless In Gaza,
Boogie Down Productions,
The Knickerbockers,
The Remains,
Quadrant,
Radiohead,
Erasure,
The Alarm Clocks,
Lizzy Mercier Descloux,
Curtis Mayfield,
Neu!,
Althea and Donna,
Trumans Water,
The Five Americans,
Sun Ra Arkestra,
The Modern Lovers,
Piero Umiliani,
Mary Jane Girls,
Swell Maps,
Rakim,
Rowland S Howard / Lydia Lunch,
Malaria!,
Kerrie Biddell,
Desert Stars,
U.S. Maple,
Accadde A,
Japan,
Bootsy's Rubber Band,
Nils Olav,
B.T. Express,
The Gap Band,
Matthew Halsall,
Ajijia Myrayebe,
New Age Steppers,
Young Marble Giants,
London Community Gospel Choir,
Soul II Soul,
ABBA,
The Fuzztones,
Flash Fearless,
Colin Newman,
Marvin Gaye,
Wighnomy Brothers & Robag Wruhme,
Ronan,
The Names,
World's Most,
Jerry's Kids,
Nick Fraelich,
The Blues Magoos,
Excepter,
Ludus,
Godley & Creme,
Lower 48,
Suburban Knight,
Wire,
Agitation Free,
Average White Band,
Wally Richardson,
Vainqueur, Vainqueur, Vainqueur, Vainqueur.
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.