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 Gambia and from Shanghai.
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 1964 to 1971.
I'm losing my edge.
To all the kids in Lagos and Copenhagen.
I'm losing my edge to the art-school London 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 Human League practice in a loft in Sheffield.
I was working on the sitar sounds with much patience.
I was there when Tom Verlaine 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 Brass Construction to the rock kids.
I played it at CBGB's.
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 Mad Mike. All the underground hits.
All The Mighty Diamonds tracks. I heard you have a vinyl of every The Beau Brummels record on German import.
I heard that you have a white label of every seminal techno hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Rowland S Howard / Lydia Lunch record.
I hear that you and your band have sold your synthesizer and bought a marimba.
I hear that you and your band have sold your marimba and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Scott Walker,
Rakim,
Godley & Creme,
Henry Cow,
Rhythim Is Rhythim,
Black Pus,
Kool G Rap & DJ Polo,
The Doobie Brothers,
UT,
kango's stein massive,
Tom Boy,
Pharaoh Sanders and the Fire Engines,
Siglo XX,
Danielle Patucci,
KRS-One,
the Swans,
EPMD,
Crispian St. Peters,
Lebanon Hanover,
Fluxion,
Spandau Ballet,
Quadrant,
Severed Heads,
Johnny Clarke,
The Blackbyrds,
Lalo Schifrin,
The Leaves,
Jesper Dahlbäck,
Guru Guru,
Hasil Adkins,
Gil Scott-Heron & Brian Jackson,
Robert Hood,
Kurtis Blow,
Soft Cell,
Cal Tjader,
Lou Reed & John Cale,
Parry Music,
The Remains,
The Sonics,
Agent Orange,
Super Lover Cee & Casanova Rud,
Amon Düül,
Bad Manners,
Dave Gahan,
Gregory Isaacs,
Bootsy's Rubber Band,
Section 25,
Lightning Bolt,
Al Stewart,
Masters at Work,
Organ,
Lee Hazlewood,
U.S. Maple,
a-ha,
Bob Dylan,
Lizzy Mercier Descloux,
Barrington Levy,
Banda Bassotti,
Dead Boys,
Todd Rundgren,
Moby Grape,
Pantytec,
Model 500,
Television Personalities, Television Personalities, Television Personalities, Television Personalities.
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.