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 Eritrea and from Woodstock.
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 1969 to 1978.
I'm losing my edge.
To all the kids in Madrid and Lyon.
I'm losing my edge to the art-school Johannesburg 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 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the theremin 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 Minny Pops to the rock 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 Darondo. All the underground hits.
All Supertramp tracks. I heard you have a vinyl of every Howard Jones record on German import.
I heard that you have a white label of every seminal grime 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 güiro and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Boredoms record.
I hear that you and your band have sold your clarinet and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a clarinet.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Brass Construction,
Rites of Spring,
Mission of Burma,
Fugazi,
Arab on Radar,
Pagans,
Theoretical Girls,
Cameo,
Derrick May,
Swell Maps,
Prince Buster,
Lalo Schifrin,
Howard Jones,
Barclay James Harvest,
Sad Lovers and Giants,
Jerry's Kids,
Masters at Work,
Stockholm Monsters,
Brothers Johnson,
Swans,
Grey Daturas,
Saccharine Trust,
Mars,
Pet Shop Boys,
Red Lorry Yellow Lorry,
48th St. Collective,
Ohio Players,
Clear Light,
Soft Machine,
Silicon Teens,
Dorothy Ashby,
John Coltrane,
Lakeside,
Stetsasonic,
Camberwell Now,
Ludus,
KRS-One,
Eyeless In Gaza,
Joyce Sims,
Sonic Youth,
The Cowsills,
The Star Department,
Nik Kershaw,
Archie Shepp,
Chrome,
Maurizio,
Franke,
Darondo,
Major Organ And The Adding Machine,
the Fania All-Stars,
De La Soul & Jungle Brothers,
Bang on a Can All-Stars,
Wings,
Organ,
Country Teasers,
Jacob Miller,
Frankie Knuckles,
Monks,
The Golliwogs,
Inner City,
Jimmy McGriff,
Eurythmics,
The Residents, The Residents, The Residents, The Residents.
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.