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 Netherlands and from Glasgow.
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 1969 to 1976.
I'm losing my edge.
To all the kids in Jakarta and Philadelphia.
I'm losing my edge to the art-school Madrid 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 snare 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 Joyce Sims to the grime 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 Art Ensemble Of Chicago. All the underground hits.
All The Standells tracks. I heard you have a vinyl of every Minor Threat record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a güiro and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Sparks record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Arab on Radar,
Urselle,
Slick Rick,
Unwound,
Davy DMX,
The Count Five,
Flipper,
Aaron Thompson,
The Cure,
The Offenders,
Intrusion,
The Techniques,
The Neon Judgement,
Pagans,
Schoolly D,
Yellowson,
Delon & Dalcan,
Kerri Chandler,
AZ,
The Walker Brothers,
Fort Wilson Riot,
John Holt,
Chris Corsano,
Lebanon Hanover,
The Birthday Party,
Neil Young & Crazy Horse,
Young Marble Giants,
Letta Mbulu,
Soul Sonic Force,
The Peanut Butter Conspiracy,
LL Cool J,
the Germs,
The West Coast Pop Art Experimental Band,
Fela Kuti,
ABC,
Roxette,
Marcia Griffiths,
Lou Christie,
the Soft Cell,
Joe Smooth,
CMW,
Grey Daturas,
Cabaret Voltaire,
The Zeros,
Terror Squad Feat. Camron,
Tropical Tobacco,
Mantronix,
The United States of America,
Delta 5,
Robert Wyatt,
Japan,
Rotary Connection,
Boz Scaggs,
Jandek,
Hardrive,
Marine Girls,
The Mojo Men,
Sight & Sound,
Lucky Dragons,
Archie Shepp,
The Vogues,
Sparks,
Gerry Rafferty,
Angry Samoans, Angry Samoans, Angry Samoans, Angry Samoans.
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.