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 Seychelles and from Bologna.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
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 1977.
I'm losing my edge.
To all the kids in Taipei and Woodstock.
I'm losing my edge to the art-school Houston 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 rhodes sounds with much patience.
I was there when David Bowie 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 Peter and Kerry to the jazz kids.
I played it at the 40 Watt.
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 Stereo Dub. All the underground hits.
All Blake Baxter tracks. I heard you have a vinyl of every Grandmaster Flash record on German import.
I heard that you have a white label of every seminal grunge 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 clarinet and a snare and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
Avey Tare's Slasher Flicks,
Mo-Dettes,
London Community Gospel Choir,
The Grass Roots,
Henry Cow,
Man Parrish,
The Star Department,
Pet Shop Boys,
Althea and Donna,
Sixth Finger,
Gang Green,
Flash Fearless,
Drive Like Jehu,
Pierre Henry,
The Standells,
Ituana,
Rufus Thomas,
The Gories,
Notorious Big And Bone Thugs,
Gil Scott-Heron & Brian Jackson,
Sarah Menescal,
The Slits,
The Mighty Diamonds,
Index,
Arthur Verocai,
Panda Bear,
Marvin Gaye,
Marmalade,
The New Christs,
Todd Rundgren,
Dual Sessions,
Lou Reed & Metallica,
Godley & Creme,
Wings,
Lungfish,
Q and Not U,
The Sound,
Half Japanese,
The Walker Brothers,
The Searchers,
Marine Girls,
Rapeman,
Juan Atkins,
John Holt,
Carl Craig,
Ralphi Rosario,
The Fire Engines,
Neil Young & Crazy Horse,
The Names,
Iggy Pop,
Wolf Eyes,
The Techniques,
Josef K,
Y Pants,
Barrington Levy,
Kool G Rap & DJ Polo,
Ornette Coleman,
The Blues Magoos,
Visage,
Radio Birdman, Radio Birdman, Radio Birdman, Radio Birdman.
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.