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 Tanzania and from Winnipeg.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
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 1966 to 1974.
I'm losing my edge.
To all the kids in Spokane and Seoul.
I'm losing my edge to the art-school Tokyo 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 1984 at the first Arcadia practice in a loft in London.
I was working on the spring reverb sounds with much patience.
I was there when Donald Fagen 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 Tomorrow to the rock 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 Godley & Creme. All the underground hits.
All Pere Ubu tracks. I heard you have a vinyl of every Richard Hell and the Voidoids 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 '70s.
I hear you're buying a güiro and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a N.O.R.E. Featuring Pharrell record.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Make Up,
Slave,
Nick Fraelich,
Echo & the Bunnymen,
Malaria!,
London Community Gospel Choir,
Pulsallama,
The Walker Brothers,
Peter Gordon & Love of Life Orchestra,
Radiopuhelimet,
The Count Five,
Model 500,
The Offenders,
Robert Wyatt,
The Doors,
Saccharine Trust,
Moebius,
Throbbing Gristle,
Delta 5,
Sugar Minott,
Davy DMX,
Roxette,
Steve Hackett,
Ultravox,
Delon & Dalcan,
Gabor Szabo,
Adolescents,
Stetsasonic,
Girls At Our Best!,
Pylon,
Fort Wilson Riot,
Sixth Finger,
Fad Gadget,
Marshall Jefferson,
Banda Bassotti,
Judy Mowatt,
T.S.O.L.,
Skaos,
The Sisters of Mercy,
Kerrie Biddell,
Ten City,
Soul Sonic Force,
Popol Vuh,
Jeff Lynne,
Big Daddy Kane,
Sound Behaviour,
Lee Hazlewood,
Art Ensemble Of Chicago,
Camberwell Now,
Hashim,
Mark Hollis,
Röyhkä ja Rättö ja Lehtisalo,
Anakelly,
The Trojans,
Essential Logic,
The Jesus and Mary Chain,
UT,
Scott Walker + Sunn O))),
Neu!,
The Names,
Sight & Sound,
The New Christs,
The Grass Roots, The Grass Roots, The Grass Roots, The Grass Roots.
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.