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 Mexico and from Stockholm.
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 1968 to 1975.
I'm losing my edge.
To all the kids in Mexico City and Houston.
I'm losing my edge to the art-school Bremen 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 1976 at the first Feelies practice in a loft in Haledon.
I was working on the clarinet sounds with much patience.
I was there when Lou Reed 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 Jeff Lynne to the grunge kids.
I played it at the Roxy.
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 Arab on Radar. All the underground hits.
All The Moody Blues tracks. I heard you have a vinyl of every The Count Five record on German import.
I heard that you have a white label of every seminal electroclash hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a The Fire Engines record.
I hear that you and your band have sold your chamberlin and bought a 808.
I hear that you and your band have sold your 808 and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Minutemen,
Crispian St. Peters,
The Chocolate Watch Band,
Swans,
The Toasters,
8 Eyed Spy,
Slave,
Kevin Saunderson,
T. Rex,
The Fuzztones,
Cabaret Voltaire,
Jacob Miller,
Technova,
Tom Boy,
The Fortunes,
Lucky Dragons,
the Normal,
James Chance & The Contortions,
Eric Dolphy,
Orchestral Manoeuvres in the Dark,
Tropical Tobacco,
Fluxion,
The Misunderstood,
Mandrill,
Godley & Creme,
Robert Görl,
Major Organ And The Adding Machine,
Al Stewart,
Fela Kuti,
Neil Young & Crazy Horse,
Lyres,
Mr. Review,
Matthew Bourne,
Interpol,
The Martian,
Lou Christie,
The Raincoats,
Silicon Teens,
Arab on Radar,
Carl Craig,
The Durutti Column,
DeepChord presents Echospace,
Bobby Hutcherson,
Maurizio,
Q65,
MC5,
Adolescents,
Jesper Dahlback,
Half Japanese,
Harmonia,
Harpers Bizarre,
Moss Icon,
Pulsallama,
Bush Tetras,
The United States of America,
X-Ray Spex,
Rahsaan Roland Kirk,
Sonny Sharrock,
ABC,
Jerry's Kids,
The Moleskins,
Wire, Wire, Wire, Wire.
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.