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 Guinea and from Houston.
But I was there.
I was there in 1983.
I was there at the first Lewis show in Vancouver.
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 1962 to 1973.
I'm losing my edge.
To all the kids in Columbus and Paris.
I'm losing my edge to the art-school Columbus 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 harpsichord 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 Bang On A Can to the disco kids.
I played it at the Crocodile.
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 Derrick May. All the underground hits.
All Avey Tare's Slasher Flicks tracks. I heard you have a vinyl of every Sexual Harrassment 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 '80s.
I hear you're buying a linndrum and a rhodes and are throwing your macbook out the window because you want to make something real. You want to make a Pole record.
I hear that you and your band have sold your linndrum and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a linndrum.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Electric Prunes,
Rites of Spring,
Soft Cell,
The Saints,
Dual Sessions,
Rotary Connection,
Minor Threat,
Man Parrish,
CMW,
The J.B.'s,
John Coltrane,
Jerry's Kids,
Sex Pistols,
Organ,
Robert Wyatt,
Sällskapet,
Main Source,
Tubeway Army,
Matthew Bourne,
Joe Smooth,
Shoche,
The Gories,
Al Stewart,
Los Fastidios,
Pantytec,
Gang Gang Dance,
Nas,
Byron Stingily,
Harry Pussy,
Kerrie Biddell,
Jimmy McGriff,
Hot Snakes,
Danielle Patucci,
Malaria!,
Big Daddy Kane,
Grauzone,
Thee Headcoats,
Fad Gadget,
Aaron Thompson,
Quantec,
Lindisfarne,
Deepchord,
Can,
Depeche Mode,
Angry Samoans,
Quadrant,
Eurythmics,
Lower 48,
Essential Logic,
Yellowson,
Marshall Jefferson,
DeepChord presents Echospace,
T. Rex,
Graham Central Station,
Steve Hackett,
Justin Hinds & The Dominoes,
Circle Jerks,
Scott Walker,
X-Ray Spex,
Q65,
Kauko Röyhkä ja Narttu,
Flash Fearless,
Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark, Orchestral Manoeuvres in the Dark.
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.