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 Kosovo and from Mumbai.
But I was there.
I was there in 1976.
I was there at the first Buzzcocks show in Bolton.
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 1977.
I'm losing my edge.
To all the kids in Madrid and Manila.
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 mellotron 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 Freddie Wadling to the disco 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 Kerri Chandler. All the underground hits.
All Steve Hackett tracks. I heard you have a vinyl of every Lebanon Hanover record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a güiro and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your clarinet and bought a theremin.
I hear that you and your band have sold your theremin and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Max Romeo,
The Durutti Column,
Wolf Eyes,
Eric B and Rakim,
Marvin Gaye,
Moby Grape,
Moss Icon,
Fifty Foot Hose,
Alton Ellis,
Eric Dolphy,
Aural Exciters,
Ornette Coleman,
Suburban Knight,
The Golliwogs,
Brick,
U.S. Maple,
Ronnie Foster,
Eurythmics,
Bobby Byrd,
The Standells,
Vladislav Delay,
Brothers Johnson,
Patti Smith,
Pierre Henry,
Au Pairs,
Television Personalities,
Sunsets and Hearts,
Marine Girls,
Kevin Saunderson,
The Dead C,
Lungfish,
The Remains,
Kas Product,
Flamin' Groovies,
Minnie Riperton,
Groovy Waters,
Gang Starr,
Isaac Hayes,
Masters at Work,
Aaron Thompson,
Massinfluence,
Ultramagnetic MC's,
Liaisons Dangereuses,
Soul Sonic Force,
Talk Talk,
Pylon,
Lightning Bolt,
Essential Logic,
Tom Boy,
Johnny Clarke,
The Tremeloes,
Youth Brigade,
Ponytail,
the Fania All-Stars,
Cheater Slicks,
Japan,
The Zeros,
Negative Approach,
Technova,
Crime,
Jesper Dahlbäck,
Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson, Gil Scott-Heron & Brian Jackson.
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.