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 Samoa and from Tehran.
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 1962 to 1975.
I'm losing my edge.
To all the kids in Portland and Philadelphia.
I'm losing my edge to the art-school Bremen 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 clarinet 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 Tropical Tobacco to the funk kids.
I played it at Cafe Wha.
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 Warren Ellis. All the underground hits.
All Liaisons Dangereuses tracks. I heard you have a vinyl of every Steve Hackett 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 '80s cut and another box set from the '70s.
I hear you're buying a snare and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Minor Threat record.
I hear that you and your band have sold your synthesizer and bought an oboe.
I hear that you and your band have sold your oboe and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Half Japanese,
Ornette Coleman,
the Association,
Radiohead,
Skriet,
Glambeats Corp.,
Sun Ra Arkestra,
Cabaret Voltaire,
Prince Buster,
Excepter,
Roy Ayers,
Richard Hell and the Voidoids,
Sex Pistols,
Gil Scott-Heron & Brian Jackson,
Popol Vuh,
Colin Newman,
Girls At Our Best!,
Banda Bassotti,
Spandau Ballet,
Yaz,
Das Ding,
China Crisis,
LL Cool J,
Pharoah Sanders,
Grandmaster Flash and the Furious Five,
Bang on a Can All-Stars,
Lou Reed & John Cale,
The Buckinghams,
ABBA,
Joy Division,
Louis and Bebe Barron,
Terry Callier,
Underground Resistance,
Camberwell Now,
T.S.O.L.,
Interpol,
Scientists,
The Monks,
John Lydon,
Gichy Dan,
The Evens,
Rod Modell,
Notorious BIG live in Amsterdam,
John Holt,
Black Bananas,
Grey Daturas,
Patti Smith,
Johnny Osbourne,
Procol Harum,
Massinfluence,
Gerry Rafferty,
Avey Tare's Slasher Flicks,
Eden Ahbez,
Althea and Donna,
Index,
Tommy Roe,
Groovy Waters,
Jeff Lynne,
Thompson Twins,
Lalo Schifrin,
Buzzcocks,
Lindisfarne,
The United States of America, The United States of America, The United States of America, The United States of America.
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.