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 Singapore and from Toronto.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1961 to 1972.
I'm losing my edge.
To all the kids in Salvador and Winnipeg.
I'm losing my edge to the art-school Taipei 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 guitar 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 The Doobie Brothers to the grime 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 Ronan. All the underground hits.
All Adolescents tracks. I heard you have a vinyl of every Sandy B 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 '60s cut and another box set from the '90s.
I hear you're buying an arpeggiator and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Guru Guru record.
I hear that you and your band have sold your marimba and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Qualms,
Black Flag,
David Axelrod,
James White and The Blacks,
Bob Dylan,
Excepter,
Kaleidoscope,
New York Dolls,
Harpers Bizarre,
Dawn Penn,
Flipper,
Suburban Knight,
ABC,
Fad Gadget,
Liaisons Dangereuses,
The United States of America,
Magazine,
Harmonia,
The Beau Brummels,
Warsaw,
Rod Modell,
Marc Almond,
John Foxx,
Peter & Gordon,
Siouxsie and the Banshees,
The Dave Clark Five,
Röyhkä ja Rättö ja Lehtisalo,
Lou Reed & Metallica,
The Smiths,
The Modern Lovers,
Vainqueur,
David McCallum,
The Red Krayola,
Scrapy,
Parry Music,
DNA,
Main Source,
Swans,
Bobby Byrd,
Sight & Sound,
Leonard Cohen,
Theoretical Girls,
Mandrill,
Loose Ends,
E-Dancer,
the Sonics,
T.S.O.L.,
Yazoo,
The Music Machine,
June of 44,
Matthew Bourne,
Aural Exciters,
The Dead C,
Sam Rivers,
Cal Tjader,
Urselle,
Derrick Morgan,
The Alarm Clocks,
Skriet,
Infiniti,
Tears for Fears,
Barrington Levy,
Louis and Bebe Barron,
Mark Hollis, Mark Hollis, Mark Hollis, Mark Hollis.
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.