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 Solomon Islands and from Madrid.
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 1960 to 1978.
I'm losing my edge.
To all the kids in Houston and Winnipeg.
I'm losing my edge to the art-school Lyon 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 1977 at the first Mistral practice in a loft in Amsterdam.
I was working on the synthesizer 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 Slick Rick to the grunge kids.
I played it at the Spitz.
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 Pylon. All the underground hits.
All Marshall Jefferson tracks. I heard you have a vinyl of every The Tremeloes record on German import.
I heard that you have a white label of every seminal rock hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying an oboe and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Goldenarms record.
I hear that you and your band have sold your chamberlin and bought a mellotron.
I hear that you and your band have sold your mellotron and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Martian,
The Fall,
Symarip,
Crispian St. Peters,
Surgeon,
Public Enemy,
Rosa Yemen,
Roxette,
Jacob Miller,
Crash Course in Science,
Lou Reed & Metallica,
Procol Harum,
Electric Prunes,
the Soft Cell,
Arab on Radar,
Dorothy Ashby,
Darondo,
Jacques Brel,
Lou Reed & John Cale,
Ornette Coleman,
Sexual Harrassment,
Patti Smith,
Super Lover Cee & Casanova Rud,
Bobby Womack,
Donny Hathaway,
This Heat,
Jeff Lynne,
Popol Vuh,
Amon Düül,
Banda Bassotti,
Ultravox,
Glenn Branca,
Barclay James Harvest,
Harry Pussy,
Skarface,
Pole,
Black Bananas,
Sunsets and Hearts,
Bang on a Can All-Stars,
Hot Snakes,
The Happenings,
Drive Like Jehu,
Los Fastidios,
The Barracudas,
The Raincoats,
Matthew Bourne,
Connie Case,
Magazine,
Barrington Levy,
The Dirtbombs,
Avey Tare & Kría Brekkan,
The Royal Family And The Poor,
Spandau Ballet,
Soft Machine,
Animal Collective,
Marc Almond,
Sound Behaviour,
The Cosmic Jokers,
Soulsonic Force,
Kaleidoscope,
Bootsy's Rubber Band,
The West Coast Pop Art Experimental Band,
Man Parrish, Man Parrish, Man Parrish, Man Parrish.
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.