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 Niger and from Taipei.
But I was there.
I was there in 1983.
I was there at the first Bronski Beat show in Brixton.
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 1963 to 1970.
I'm losing my edge.
To all the kids in Seoul and Lyon.
I'm losing my edge to the art-school Madrid 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 mellotron 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 Echo & the Bunnymen to the grunge kids.
I played it at the Hacienda.
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 Invisible. All the underground hits.
All Jawbox tracks. I heard you have a vinyl of every Bobby Byrd record on German import.
I heard that you have a white label of every seminal dance 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 rhodes and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a The Invisible record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Altered Images,
Bootsy's Rubber Band,
Can,
Subhumans,
Gian Franco Pienzio,
Soul II Soul,
Sparks,
Brothers Johnson,
Sound Behaviour,
Grauzone,
One Last Wish,
Mr. Review,
Roxette,
Mark Hollis,
Stockholm Monsters,
The Smoke,
K-Klass,
The Gap Band,
Connie Case,
Faraquet,
Royal Trux,
Fatback Band,
Con Funk Shun,
Janne Schatter,
Maleditus Sound,
Television Personalities,
Sällskapet,
Crispian St. Peters,
Lafayette Afro Rock Band,
The Walker Brothers,
OOIOO,
Wire,
Urselle,
Andrew Ashong & Theo Parrish,
Tom Boy,
Ajijia Myrayebe,
Soulsonic Force,
Oneida,
Lightning Bolt,
Hardrive,
Jeff Mills,
The Count Five,
Tim Buckley,
Pere Ubu,
Reuben Wilson,
Ultra Naté,
The Cowsills,
Fear,
Howard Jones,
Model 500,
Arthur Verocai,
Johnny Clarke,
Leonard Cohen,
The Cure,
Ten City,
Stereo Dub,
Thompson Twins,
Gil Scott-Heron & Brian Jackson,
Glambeats Corp.,
LL Cool J, LL Cool J, LL Cool J, LL Cool J.
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.