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 Dominican Republic and from Woodstock.
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 1962 to 1970.
I'm losing my edge.
To all the kids in Shanghai and Hong Kong.
I'm losing my edge to the art-school Delhi 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the mellotron 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 Rosa Yemen to the rock kids.
I played it at the 40 Watt.
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 The United States of America. All the underground hits.
All T.S.O.L. tracks. I heard you have a vinyl of every Louis and Bebe Barron record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Supertramp record.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Lou Reed,
Henry Cow,
The Young Rascals,
This Heat,
A Flock of Seagulls,
Circle Jerks,
Jimmy McGriff,
Thee Headcoats,
Bad Manners,
Sly & The Family Stone,
Funky Four + One,
Gerry Rafferty,
Byron Stingily,
Peter and Kerry,
Spandau Ballet,
The Buckinghams,
Sam Rivers,
Patti Smith,
U.S. Maple,
Arab on Radar,
Letta Mbulu,
Dr. Dre and Snoop Doggy Dog,
Glambeats Corp.,
Lou Reed & John Cale,
Fluxion,
Alison Limerick,
Arthur Verocai,
LL Cool J,
Johnny Osbourne,
Curtis Mayfield,
Jeff Lynne,
Newcleus,
Hashim,
Massinfluence,
Gabor Szabo,
One Last Wish,
Rhythim Is Rhythim,
Gang of Four,
ABC,
The Remains,
Stereo Dub,
Ultra Naté,
kango's stein massive,
Godley & Creme,
The Men They Couldn't Hang,
Scientists,
Skaos,
Gang Gang Dance,
Thinking Fellers Union Local 282,
Index,
The Tremeloes,
Chrome,
Magma,
The Fuzztones,
Supertramp,
Junior Murvin,
Ice-T,
Ajijia Myrayebe,
Susan Cadogan,
Infiniti,
Soft Cell, Soft Cell, Soft Cell, Soft Cell.
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.