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 Macedonia and from Copenhagen.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Philadelphia and Columbus.
I'm losing my edge to the art-school Lagos 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 1978 at the first Visage practice in a loft in London.
I was working on the theremin sounds with much patience.
I was there when Tom Verlaine 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 Liliput to the grime kids.
I played it at the Astoria.
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 a-ha. All the underground hits.
All The Fire Engines tracks. I heard you have a vinyl of every Pylon record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a snare 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 spring reverb and bought an oboe.
I hear that you and your band have sold your oboe and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marc Romboy vs. Booka Shade,
Oblivians,
Glambeats Corp.,
Deakin,
Eric B and Rakim,
Captain Beefheart & His Magic Band,
PIL,
Lyres,
Harmonia,
Sonny Sharrock,
Aaron Thompson,
Al Stewart,
Masters at Work,
Babytalk,
Neu!,
Zapp,
Loose Ends,
Radio Birdman,
Max Romeo,
DeepChord presents Echospace,
Terry Callier,
Ornette Coleman,
Inner City,
Arcadia,
Justin Hinds & The Dominoes,
The Mummies,
The Divine Comedy,
Kerrie Biddell,
Roxy Music,
Aural Exciters,
Freddie Wadling,
Camouflage,
Alphaville,
Isaac Hayes,
Severed Heads,
Reuben Wilson,
Lungfish,
Q65,
Johnny Clarke,
Brass Construction,
Rhythm & Sound,
Easy Going,
The Flesh Eaters,
FM Einheit,
The Toasters,
Ultravox,
Sparks,
Joe Smooth,
Yazoo,
Unrelated Segments,
Grandmaster Flash,
Kaleidoscope,
Boz Scaggs,
Maleditus Sound,
Barry Ungar,
The New Christs,
The Standells,
Lower 48,
Swans,
Gang of Four,
Animal Collective, Animal Collective, Animal Collective, Animal Collective.
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.