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 Stockholm.
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 1966 to 1976.
I'm losing my edge.
To all the kids in Lille and London.
I'm losing my edge to the art-school Accra 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 mellotron sounds with much patience.
I was there when David Bowie 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 Sugar Minott to the crunk 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 Pierre Henry. All the underground hits.
All Bobby Sherman tracks. I heard you have a vinyl of every Saccharine Trust record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying a snare and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Brass Construction record.
I hear that you and your band have sold your guitar and bought a sitar.
I hear that you and your band have sold your sitar and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Nik Kershaw,
Idris Muhammad,
Terrestrial Tones,
PIL,
James Chance & The Contortions,
the Swans,
DJ Sneak,
Todd Rundgren,
The Trojans,
Panda Bear,
The Count Five,
Severed Heads,
The Golliwogs,
The Fuzztones,
Curtis Mayfield,
In Retrospect,
Sam Rivers,
The West Coast Pop Art Experimental Band,
Todd Terry,
The Men They Couldn't Hang,
Graham Central Station,
Eric B and Rakim,
Ludus,
Scott Walker,
Brass Construction,
a-ha,
Black Flag,
Aural Exciters,
Bad Manners,
Cecil Taylor,
Nation of Ulysses,
Susan Cadogan,
Erasure,
The Gun Club,
The Black Dice,
Crash Course in Science,
Grandmaster Flash,
Sun Ra Arkestra,
The J.B.'s,
Tomorrow,
Silicon Teens,
FM Einheit,
Flamin' Groovies,
Lou Reed & John Cale,
Boz Scaggs,
Talk Talk,
Loose Ends,
Joyce Sims,
Trumans Water,
Kings Of Tomorrow,
June of 44,
Model 500,
Jacob Miller,
Mo-Dettes,
Monolake,
Amon Düül II,
Ronnie Foster,
the Sonics,
Crispy Ambulance,
Tears for Fears,
Isaac Hayes,
Eric Copeland, Eric Copeland, Eric Copeland, Eric Copeland.
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.