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 Austria and from Glasgow.
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 1965 to 1974.
I'm losing my edge.
To all the kids in Woodstock and Delhi.
I'm losing my edge to the art-school Lille 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 linndrum sounds with much patience.
I was there when Lou Reed 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 Roxy Music to the grime 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 Nick Cave & The Bad Seeds. All the underground hits.
All Hoover tracks. I heard you have a vinyl of every Dead Boys record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a linndrum and a sitar and are throwing your macbook out the window because you want to make something real. You want to make a 48th St. Collective record.
I hear that you and your band have sold your clarinet and bought an oboe.
I hear that you and your band have sold your oboe and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
James Chance & The Contortions,
Josef K,
Pharaoh Sanders and the Fire Engines,
Infiniti,
Scan 7,
Roy Ayers Ubiquity,
Boogie Down Productions,
Public Enemy,
Matthew Halsall,
The Golliwogs,
Lizzy Mercier Descloux,
The Blues Magoos,
The Fire Engines,
Barclay James Harvest,
Das Ding,
Cabaret Voltaire,
Reagan Youth,
The Offenders,
Susan Cadogan,
Simply Red,
Gastr Del Sol,
China Crisis,
Quadrant,
Buzzcocks,
Eric Dolphy,
the Association,
Siglo XX,
Lou Reed & John Cale,
Theoretical Girls,
Rahsaan Roland Kirk,
Pantaleimon,
Au Pairs,
The Flesh Eaters,
UT,
Girls At Our Best!,
Strawberry Alarm Clock,
Kayak,
The Doors,
Intrusion,
Warsaw,
Swans,
Freddie Wadling,
Peter Gordon & Love of Life Orchestra,
Minnie Riperton,
The Music Machine,
Television,
Hardrive,
Echospace,
Duran Duran,
the Human League,
Pharoah Sanders,
Albert Ayler,
Scratch Acid,
Kings Of Tomorrow,
Mark Hollis,
Banda Bassotti,
Con Funk Shun,
H. Thieme,
Isaac Hayes,
Wighnomy Brothers & Robag Wruhme,
Steve Hackett, Steve Hackett, Steve Hackett, Steve Hackett.
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.