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 Fiji 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 1962 to 1972.
I'm losing my edge.
To all the kids in Manila and Delhi.
I'm losing my edge to the art-school Glasgow 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 1983 at the first Art of Noise practice in a loft in London.
I was working on the rhodes sounds with much patience.
I was there when Lou Reed 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 48th St. Collective to the jazz kids.
I played it at Cafe Wha.
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 Robert Wyatt. All the underground hits.
All Slick Rick tracks. I heard you have a vinyl of every Drive Like Jehu record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '90s.
I hear you're buying a linndrum and an organ and are throwing your macbook out the window because you want to make something real. You want to make a Strawberry Alarm Clock record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Fifty Foot Hose,
Mandrill,
Fad Gadget,
Gerry Rafferty,
Visionaries,LMNO, T- Love & Iriscience,
Nico,
Laurel Aitken,
Rapeman,
Eli Mardock,
Pere Ubu,
One Last Wish,
The Electric Prunes,
The Pretty Things,
B.T. Express,
The Music Machine,
Connie Case,
Au Pairs,
Dave Gahan,
Kings Of Tomorrow,
The Victims,
MC5,
New York Dolls,
Franke,
Sparks,
Goldenarms,
Bootsy's Rubber Band,
Barclay James Harvest,
Amon Düül,
Unwound,
Orchestral Manoeuvres in the Dark,
ABBA,
Echo & the Bunnymen,
Bluetip,
The Modern Lovers,
Bill Wells,
Funkadelic,
Khruangbin,
Max Romeo,
Soft Machine,
Pulsallama,
48th St. Collective,
Nick Fraelich,
The Young Rascals,
Dennis Brown,
Aural Exciters,
Grey Daturas,
Spandau Ballet,
Can,
Kurtis Blow,
Skriet,
Eric B and Rakim,
Electric Light Orchestra,
Severed Heads,
Pet Shop Boys,
The Alarm Clocks,
Desert Stars,
Josef K,
The Toasters,
Rhythm & Sound,
Camron Feat. Memphis Bleek And Beenie Seigel,
Tubeway Army,
John Holt,
These Immortal Souls, These Immortal Souls, These Immortal Souls, These Immortal Souls.
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.