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 Mauritius and from Johannesburg.
But I was there.
I was there in 1977.
I was there at the first Human League show in Sheffield.
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 1966 to 1972.
I'm losing my edge.
To all the kids in Accra and Sao Paulo.
I'm losing my edge to the art-school Philadelphia 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 guitar 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 Scott Walker to the grime kids.
I played it at the Roxy.
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 Maurizio. All the underground hits.
All Fort Wilson Riot tracks. I heard you have a vinyl of every Deadbeat 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 '70s.
I hear you're buying a spring reverb and an oboe and are throwing your macbook out the window because you want to make something real. You want to make a Laurel Aitken record.
I hear that you and your band have sold your mellotron and bought a spring reverb.
I hear that you and your band have sold your spring reverb and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Marcia Griffiths,
Isaac Hayes,
Patti Smith,
Boogie Down Productions,
Man Parrish,
Gary Puckett & The Union Gap,
Röyhkä ja Rättö ja Lehtisalo,
Lou Reed & Metallica,
The Neon Judgement,
Electric Light Orchestra,
The Slits,
Pharaoh Sanders and the Fire Engines,
FM Einheit,
Sparks,
The Walker Brothers,
Reagan Youth,
Jerry Gold Smith,
Carl Craig,
Trumans Water,
Soul Sonic Force,
Youth Brigade,
Derrick May,
One Last Wish,
Barbara Tucker,
Make Up,
Deutsch Amerikanische Freundschaft,
Crime,
Orchestral Manoeuvres in the Dark,
The Names,
Rhythm & Sound,
The Smiths,
Matthew Bourne,
John Holt,
Albert Ayler,
The Cramps,
Jacques Brel,
Bronski Beat,
Clear Light,
Iggy Pop,
Black Pus,
The Busters,
Aural Exciters,
Los Fastidios,
Porter Ricks,
Al Stewart,
Jawbox,
Gil Scott-Heron and Jamie xx,
Bang on a Can All-Stars,
Talk Talk,
Technova,
Ronnie Foster,
Lebanon Hanover,
Notorious BIG live in Amsterdam,
The Tremeloes,
Mark Hollis,
Babytalk,
Ultimate Spinach,
a-ha,
Delon & Dalcan,
Lalann,
Chris & Cosey,
Jacob Miller,
Roxy Music, Roxy Music, Roxy Music, Roxy Music.
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.