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 Korea North and from Winnipeg.
But I was there.
I was there in 1978.
I was there at the first Visage show in 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 1967 to 1978.
I'm losing my edge.
To all the kids in Lille and Winnipeg.
I'm losing my edge to the art-school Shanghai 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 Make Up to the funk kids.
I played it at the Troubador.
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 New Age Steppers. All the underground hits.
All Scion tracks. I heard you have a vinyl of every Smog 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 '60s cut and another box set from the '80s.
I hear you're buying a linndrum and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Mandrill record.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Technova,
Severed Heads,
D'Angelo,
Jacob Miller,
Aaron Thompson,
Faust,
Ultravox,
Tomorrow,
FM Einheit,
Bootsy's Rubber Band,
Depeche Mode,
Kango’s Stein Massive,
Notorious Big And Bone Thugs,
Kool Moe Dee,
Peter and Kerry,
Massinfluence,
Section 25,
Oneida,
Judy Mowatt,
Robert Wyatt,
Laurel Aitken,
Excepter,
A Flock of Seagulls,
Urselle,
Sarah Menescal,
Smog,
L. Decosne,
Monks,
Robert Görl,
the Human League,
Soul Sonic Force,
Lalo Schifrin,
The Moleskins,
Pussy Galore,
The Sonics,
Eddi Front,
Roy Ayers,
Tubeway Army,
Cymande,
Dave Gahan,
Man Eating Sloth,
48th St. Collective,
Visionaries,LMNO, T- Love & Iriscience,
Rowland S Howard / Lydia Lunch,
John Coltrane,
Gil Scott-Heron and Jamie xx,
The Gories,
Boredoms,
The United States of America,
Tropical Tobacco,
It's A Beautiful Day,
Electric Prunes,
Captain Beefheart & His Magic Band,
Toni Rubio,
Marcia Griffiths,
Swans,
The Fall,
The Vogues,
Ponytail,
Jeru the Damaja, Jeru the Damaja, Jeru the Damaja, Jeru the Damaja.
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.