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 Hungary and from Toronto.
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 1968 to 1971.
I'm losing my edge.
To all the kids in Taipei and Shanghai.
I'm losing my edge to the art-school Salvador 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 1978 at the first Visage practice in a loft in London.
I was working on the chamberlin sounds with much patience.
I was there when Holger Czukay 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 The Fire Engines to the disco 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 Gil Scott-Heron and Jamie xx. All the underground hits.
All Swans tracks. I heard you have a vinyl of every Sugar Minott record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a marimba and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Pylon record.
I hear that you and your band have sold your harpsichord and bought a snare.
I hear that you and your band have sold your snare and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Echo & the Bunnymen,
The Flesh Eaters,
Kool Moe Dee,
The Pop Group,
The Happenings,
Sun City Girls,
Pharoah Sanders,
Lakeside,
Al Stewart,
Theoretical Girls,
The Velvet Underground,
Jawbox,
Warsaw,
Avey Tare's Slasher Flicks,
Essential Logic,
Brick,
Black Bananas,
FM Einheit,
Visionaries,LMNO, T- Love & Iriscience,
The Leaves,
Eyeless In Gaza,
The Busters,
Jesper Dahlbäck,
Mission of Burma,
Hardrive,
Fela Kuti,
Todd Rundgren,
Eric Copeland,
Aloha Tigers,
Little Man,
Notorious BIG live in Amsterdam,
Bizarre Inc.,
Pole,
Eddi Front,
Stiv Bators,
Duran Duran,
Glambeats Corp.,
Archie Shepp,
Jeff Lynne,
Pharaoh Sanders and the Fire Engines,
The Moleskins,
The Dirtbombs,
David McCallum,
Camberwell Now,
The Misunderstood,
Rufus Thomas,
Aswad,
Pete Rock & C.L. Smooth,
Nas,
Sonic Youth,
The Angels of Light,
Mo-Dettes,
Marcia Griffiths,
Eve St. Jones,
Traffic Nightmare,
Danielle Patucci,
The Kinks,
Andrew Ashong & Theo Parrish,
Magma,
Siglo XX,
Sugar Minott,
Trumans Water,
The Men They Couldn't Hang,
Pantaleimon,
Steve Hackett, Steve Hackett, Steve Hackett, Steve Hackett.
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.