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 Pakistan and from Woodstock.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
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 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Johannesburg.
I'm losing my edge to the art-school Hong Kong 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 1971 at the first Big Star practice in a loft in Memphis.
I was working on the synthesizer sounds with much patience.
I was there when Michael McDonald 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 Be Bop Deluxe to the punk kids.
I played it at CBGB's.
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 Organ. All the underground hits.
All Colin Newman tracks. I heard you have a vinyl of every Los Fastidios record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying an arpeggiator and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Neu! record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Stetsasonic,
James Chance & The Contortions,
Maleditus Sound,
Radiopuhelimet,
Avey Tare's Slasher Flicks,
Swell Maps,
the Human League,
Lizzy Mercier Descloux,
The Music Machine,
Make Up,
Basic Channel,
Be Bop Deluxe,
Altered Images,
Juan Atkins,
Curtis Mayfield,
Pete Rock & C.L. Smooth,
The Beau Brummels,
The Cure,
Davy DMX,
Thompson Twins,
Jesper Dahlbäck,
Bizarre Inc.,
The Zeros,
Stereo Dub,
CMW,
Franke,
Pulsallama,
Todd Terry,
Subhumans,
Sarah Menescal,
Roy Ayers,
Q65,
Sight & Sound,
Quando Quango,
Pussy Galore,
La Düsseldorf,
Swans,
Bill Near,
Radio Birdman,
Joe Smooth,
The Electric Prunes,
Louis and Bebe Barron,
Captain Beefheart & His Magic Band,
Sugar Minott,
Radiohead,
Oneida,
The Martian,
Lee Hazlewood,
Wings,
DeepChord presents Echospace,
Desert Stars,
Bang on a Can All-Stars,
Babytalk,
Derrick May,
Ken Boothe,
Section 25,
Magazine,
Roger Hodgson,
Gil Scott Heron,
Fela Kuti,
Motorama,
Reagan Youth, Reagan Youth, Reagan Youth, Reagan Youth.
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.