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 Paraguay and from Philadelphia.
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 1964 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Calgary.
I'm losing my edge to the art-school Beijing 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 Soft Boys practice in a loft in Cambridge.
I was working on the linndrum sounds with much patience.
I was there when Robert Palmer 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 Al Stewart to the dance 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 The Black Dice. All the underground hits.
All Morten Harket tracks. I heard you have a vinyl of every Graham Central Station record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a snare and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Dorothy Ashby record.
I hear that you and your band have sold your mellotron and bought a snare.
I hear that you and your band have sold your snare and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Popol Vuh,
Nik Kershaw,
Minnie Riperton,
Beasts of Bourbon,
Bobbi Humphrey,
Ultimate Spinach,
The Grass Roots,
The Associates,
Bill Wells,
Piero Umiliani,
The Vogues,
Camron Feat. Memphis Bleek And Beenie Seigel,
Average White Band,
The Stooges,
John Foxx,
Monks,
The Smoke,
The Five Americans,
Bobby Womack,
Richard Hell and the Voidoids,
Major Organ And The Adding Machine,
The Buckinghams,
K-Klass,
Jawbox,
Japan,
Iggy Pop,
Newcleus,
The Martian,
Amon Düül,
Avey Tare,
Kayak,
Gil Scott-Heron and Jamie xx,
Neil Young & Crazy Horse,
Unrelated Segments,
The Sound,
Hardrive,
The Human League,
Marvin Gaye,
Red Lorry Yellow Lorry,
Scratch Acid,
New York Dolls,
L. Decosne,
Jacques Brel,
Ash Ra Tempel,
Groovy Waters,
Audionom,
Marine Girls,
Guru Guru,
Fifty Foot Hose,
Sandy B,
Radiohead,
Sunsets and Hearts,
The Monks,
Siglo XX,
The Motions,
Orchestral Manoeuvres in the Dark,
Mo-Dettes,
Sparks,
The Beau Brummels,
Eurythmics,
Kenny Larkin,
Skarface,
Television, Television, Television, Television.
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.