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 Burundi and from Salvador.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Mumbai and Madrid.
I'm losing my edge to the art-school Manila 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 spring reverb 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 Gang of Four to the funk kids.
I played it at the Roxy.
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 the Swans. All the underground hits.
All Groovy Waters tracks. I heard you have a vinyl of every Girls At Our Best! record on German import.
I heard that you have a white label of every seminal electroclash 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 spring reverb and a mellotron and are throwing your macbook out the window because you want to make something real. You want to make a Youth Brigade record.
I hear that you and your band have sold your synthesizer and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ornette Coleman,
Reuben Wilson,
Black Moon,
Marine Girls,
Jerry Gold Smith,
Soft Machine,
Pete Rock & C.L. Smooth,
Lonnie Liston Smith,
Pulsallama,
Masters at Work,
The Electric Prunes,
Kerrie Biddell,
Country Teasers,
the Human League,
The Fugs,
Tubeway Army,
These Immortal Souls,
Pet Shop Boys,
Rotary Connection,
Goldenarms,
The Blues Magoos,
Robert Görl,
the Slits,
Anthony Braxton,
Agitation Free,
Bobbi Humphrey,
Intrusion,
Country Joe & The Fish,
Black Flag,
The Last Poets,
Porter Ricks,
The Fortunes,
The Cowsills,
kango's stein massive,
Ultimate Spinach,
Kaleidoscope,
Idris Muhammad,
Roger Hodgson,
Kango’s Stein Massive,
Faust,
Brand Nubian,
Donald Byrd,
Deakin,
Toni Rubio,
Ponytail,
Nik Kershaw,
Eric B and Rakim,
Deutsch Amerikanische Freundschaft,
The Music Machine,
Drive Like Jehu,
Gerry Rafferty,
Jacob Miller,
The Peanut Butter Conspiracy,
the Germs,
Tears for Fears,
Crispian St. Peters,
ABBA,
Circle Jerks,
The Sound,
Jawbox,
A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls, A Flock of Seagulls.
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.