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 Switzerland and from Delhi.
But I was there.
I was there in 1973.
I was there at the first Television show in New York.
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 1966 to 1975.
I'm losing my edge.
To all the kids in Seoul and London.
I'm losing my edge to the art-school Calgary 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 1984 at the first Arcadia practice in a loft in London.
I was working on the synthesizer 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 Oneida to the grunge kids.
I played it at the Hacienda.
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 Barclay James Harvest. All the underground hits.
All Gang Starr tracks. I heard you have a vinyl of every Marcia Griffiths record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Rotary Connection record.
I hear that you and your band have sold your rhodes and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
Tomorrow,
The Sonics,
Subhumans,
Crispian St. Peters,
Wasted Youth,
Sixth Finger,
JFA,
DJ Style,
Slick Rick,
48th St. Collective,
Parry Music,
The Black Dice,
The Real Kids,
Pierre Henry,
Guru Guru,
Massinfluence,
Smog,
Jesper Dahlbäck,
The Slackers,
Anakelly,
The J.B.'s,
the Normal,
The Toasters,
Sugar Minott,
The Birthday Party,
Stetsasonic,
Black Moon,
Average White Band,
Half Japanese,
Monks,
Lebanon Hanover,
Al Stewart,
Sound Behaviour,
Minor Threat,
James Chance & The Contortions,
Rahsaan Roland Kirk,
Lungfish,
Sonny Sharrock,
the Slits,
Arcadia,
Tubeway Army,
The Alarm Clocks,
Inner City,
Electric Light Orchestra,
Wighnomy Brothers & Robag Wruhme,
Kool Moe Dee,
Kaleidoscope,
The Zeros,
Soulsonic Force,
Brick,
Traffic Nightmare,
The Gladiators,
DNA,
New York Dolls,
The Music Machine,
Barrington Levy,
Urselle,
Siouxsie and the Banshees,
Lonnie Liston Smith,
Oneida,
Ultravox,
The Electric Prunes, The Electric Prunes, The Electric Prunes, The Electric Prunes.
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.