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 Cameroon and from Lille.
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 1969 to 1970.
I'm losing my edge.
To all the kids in Beijing and Houston.
I'm losing my edge to the art-school Portland 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 marimba 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 Quando Quango to the dance kids.
I played it at Trash.
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 D'Angelo. All the underground hits.
All D'Angelo tracks. I heard you have a vinyl of every Avey Tare & Kría Brekkan record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a spring reverb and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Richard Hell and the Voidoids record.
I hear that you and your band have sold your arpeggiator and bought a güiro.
I hear that you and your band have sold your güiro and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
A Flock of Seagulls,
London Community Gospel Choir,
The Standells,
Fort Wilson Riot,
The Remains,
Archie Shepp,
Susan Cadogan,
Derrick Morgan,
Scan 7,
Panda Bear,
Marc Romboy vs. Booka Shade,
The Moleskins,
Richard Hell and the Voidoids,
Delon & Dalcan,
Yaz,
Scion,
Pierre Henry,
The Cramps,
John Cale,
The Raincoats,
Interpol,
Wally Richardson,
The Vogues,
Lalann,
Lungfish,
Gang Gang Dance,
Justin Hinds & The Dominoes,
Talk Talk,
UT,
Boogie Down Productions,
Cameo,
The Martian,
This Heat,
Tropical Tobacco,
Peter & Gordon,
Adolescents,
Gang Green,
The Five Americans,
B.T. Express,
Nas,
The Cowsills,
The Sisters of Mercy,
Country Teasers,
Bauhaus,
Clear Light,
Technova,
Notorious BIG live in Amsterdam,
Lakeside,
Ajijia Myrayebe,
Arcadia,
Tim Buckley,
Kool G Rap & DJ Polo,
Absolute Body Control,
Symarip,
Monks,
Television,
Blancmange,
Lee Hazlewood,
Sister Nancy,
One Last Wish,
Harry Pussy,
The Angels of Light,
Flipper, Flipper, Flipper, Flipper.
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.