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 Samoa and from Columbus.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
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 1977.
I'm losing my edge.
To all the kids in Lyon and New York.
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 synthesizer sounds with much patience.
I was there when Tom Verlaine 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 Suburban Knight to the dance 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 Depeche Mode. All the underground hits.
All David Bowie tracks. I heard you have a vinyl of every Rosa Yemen 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 '50s cut and another box set from the '70s.
I hear you're buying a sitar and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Eric Dolphy record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Real Kids,
The Mojo Men,
Sparks,
Siouxsie and the Banshees,
The West Coast Pop Art Experimental Band,
Cal Tjader,
The Doobie Brothers,
Desert Stars,
Jawbox,
Louis and Bebe Barron,
Pagans,
Skaos,
Sad Lovers and Giants,
Bill Wells,
Red Lorry Yellow Lorry,
The Sisters of Mercy,
The Dead C,
Sister Nancy,
Kauko Röyhkä ja Narttu,
Fluxion,
X-101,
The American Breed,
Index,
Cybotron,
Rotary Connection,
Infiniti,
Soul II Soul,
Wighnomy Brothers & Robag Wruhme,
Minutemen,
the Swans,
The Misunderstood,
The Blues Magoos,
Half Japanese,
10cc,
Das Ding,
Bizarre Inc.,
Boogie Down Productions,
Marine Girls,
Von Mondo,
Byron Stingily,
Sex Pistols,
Bad Manners,
Gang of Four,
Mo-Dettes,
Gil Scott Heron,
Average White Band,
Yazoo,
X-Ray Spex,
La Düsseldorf,
Liliput,
Peter & Gordon,
Orchestral Manoeuvres in the Dark,
Severed Heads,
Country Teasers,
These Immortal Souls,
Faraquet,
The Fugs,
Khruangbin,
Grauzone,
kango's stein massive,
B.T. Express,
Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow, Kings Of Tomorrow.
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.