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 Nicaragua and from Sao Paulo.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South 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 1968 to 1979.
I'm losing my edge.
To all the kids in Lyon and Spokane.
I'm losing my edge to the art-school Sao Paulo 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 arpeggiator 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 The Cure to the rap kids.
I played it at the Crocodile.
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 Mandrill. All the underground hits.
All June of 44 tracks. I heard you have a vinyl of every Lower 48 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 '70s.
I hear you're buying a mellotron and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Johnny Osbourne record.
I hear that you and your band have sold your mellotron and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Outsiders,
Chrome,
Schoolly D,
Patti Smith,
Ash Ra Tempel,
Nik Kershaw,
the Fania All-Stars,
Sparks,
Masters at Work,
Bauhaus,
Art Ensemble Of Chicago,
Motorama,
David McCallum,
Ultravox,
Gerry Rafferty,
Erasure,
Von Mondo,
Röyhkä ja Rättö ja Lehtisalo,
The Misunderstood,
Aswad,
The Sonics,
Mark Hollis,
kango's stein massive,
Section 25,
Little Man,
Stetsasonic,
Procol Harum,
Skaos,
Arthur Verocai,
Grandmaster Flash,
Sugar Minott,
Tom Boy,
Panda Bear,
Kerri Chandler,
Deepchord,
Strawberry Alarm Clock,
Archie Shepp,
Max Romeo,
Slave,
Slick Rick,
Aaron Thompson,
Cal Tjader,
Lalo Schifrin,
The Real Kids,
Tim Buckley,
Minnie Riperton,
Young Marble Giants,
Das Ding,
The Offenders,
The Fuzztones,
Moebius,
Gichy Dan,
Freddie Wadling,
Sex Pistols,
Surgeon,
Richard Hell and the Voidoids,
Icehouse,
Adolescents,
Todd Terry,
Neu!,
Dennis Brown,
Soul II Soul,
Michelle Simonal, Michelle Simonal, Michelle Simonal, Michelle Simonal.
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.