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 Cuba and from Mumbai.
But I was there.
I was there in 1971.
I was there at the first Big Star show in Memphis.
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 1978.
I'm losing my edge.
To all the kids in Mumbai and Houston.
I'm losing my edge to the art-school Bologna 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 synthesizer sounds with much patience.
I was there when Captain Beefheart 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 The Human League to the grunge 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 Talk Talk. All the underground hits.
All Marvin Gaye tracks. I heard you have a vinyl of every Todd Rundgren 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 '60s cut and another box set from the '90s.
I hear you're buying a linndrum and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Negative Approach record.
I hear that you and your band have sold your linndrum and bought a marimba.
I hear that you and your band have sold your marimba and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Gories,
The Alarm Clocks,
Zapp,
Parry Music,
Goldenarms,
Depeche Mode,
Freddie Wadling,
Index,
Piero Umiliani,
The Saints,
Robert Wyatt,
Boz Scaggs,
Delon & Dalcan,
The Sound,
Nils Olav,
Louis and Bebe Barron,
48th St. Collective,
The Trojans,
Dual Sessions,
Kool G Rap & DJ Polo,
Boredoms,
Scientists,
Ossler,
Black Flag,
The Monks,
Symarip,
Clear Light,
Oneida,
Radio Birdman,
Grandmaster Flash and the Furious Five,
Gil Scott Heron,
Byron Stingily,
A Flock of Seagulls,
Avey Tare & Kría Brekkan,
Procol Harum,
Ronnie Foster,
Sound Behaviour,
Visage,
Dorothy Ashby,
Lightning Bolt,
K-Klass,
Delta 5,
Crispian St. Peters,
Max Romeo,
Sarah Menescal,
Suburban Knight,
Pharoah Sanders,
The Dead C,
Red Lorry Yellow Lorry,
Monolake,
Lou Reed,
Jacques Brel,
The Golliwogs,
Echospace,
Rekid,
Groovy Waters,
Sister Nancy,
Barry Ungar,
DNA,
The Real Kids,
Peter & Gordon,
Flash Fearless,
Colin Newman,
Easy Going, Easy Going, Easy Going, Easy Going.
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.