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 Tanzania and from Mumbai.
But I was there.
I was there in 1978.
I was there at the first Visage 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 1966 to 1972.
I'm losing my edge.
To all the kids in Tehran and Copenhagen.
I'm losing my edge to the art-school Glasgow 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 organ 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 The West Coast Pop Art Experimental Band to the grime 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 The Alarm Clocks. All the underground hits.
All Dennis Brown tracks. I heard you have a vinyl of every Country Joe & The Fish record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a CMW record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Aaron Thompson,
The Happenings,
K-Klass,
the Human League,
Altered Images,
Chris Corsano,
Anthony Braxton,
The Names,
Blancmange,
Leonard Cohen,
Faust,
World's Most,
Jimmy McGriff,
The Leaves,
Heavy D & The Boyz,
In Retrospect,
Cymande,
Jesper Dahlback,
The Sound,
Terrestrial Tones,
the Germs,
Harry Pussy,
The Misunderstood,
Deepchord,
Lafayette Afro Rock Band,
The Mojo Men,
the Soft Cell,
Don Cherry,
Derrick Morgan,
The Fall,
Max Romeo,
Dawn Penn,
Schoolly D,
Smog,
Moby Grape,
Saccharine Trust,
The Real Kids,
Darondo,
Dual Sessions,
Sad Lovers and Giants,
F. McDonald,
The Last Poets,
Masters at Work,
The Tremeloes,
Fat Boys,
Gian Franco Pienzio,
Robert Wyatt,
Sarah Menescal,
La Düsseldorf,
Matthew Halsall,
Joe Smooth,
Soul Sonic Force,
Gerry Rafferty,
X-102,
Kerrie Biddell,
Bobby Womack,
Arab on Radar,
The Motions,
Erykah Badu,
Cybotron,
Crispian St. Peters,
Wighnomy Brothers & Robag Wruhme,
Nirvana, Nirvana, Nirvana, Nirvana.
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.