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 Togo and from New York.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
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 1975.
I'm losing my edge.
To all the kids in Columbus and Milan.
I'm losing my edge to the art-school Paris 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 1968 at the first Bowie practice in a loft in Bromley.
I was working on the 808 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 The Smiths to the grunge kids.
I played it at Trash.
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 The Mojo Men. All the underground hits.
All The Doobie Brothers tracks. I heard you have a vinyl of every Chrome 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 '80s cut and another box set from the '90s.
I hear you're buying a chamberlin and a guitar and are throwing your macbook out the window because you want to make something real. You want to make a Eric Copeland record.
I hear that you and your band have sold your arpeggiator and bought a clarinet.
I hear that you and your band have sold your clarinet and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Eurythmics,
Johnny Clarke,
Lou Reed & John Cale,
Alphaville,
Chrome,
Graham Central Station,
The Moleskins,
Lonnie Liston Smith,
K-Klass,
Malaria!,
Art Ensemble Of Chicago,
Warsaw,
Kool G Rap & DJ Polo,
The Birthday Party,
Cameo,
Maleditus Sound,
This Heat,
John Foxx,
Derrick Morgan,
Saccharine Trust,
Minny Pops,
Organ,
Andrew Hill,
Rhythm & Sound,
Sight & Sound,
Gerry Rafferty,
AZ,
Harry Pussy,
Crooked Eye,
Deadbeat,
The Dirtbombs,
Masters at Work,
Skriet,
Gastr Del Sol,
The Neon Judgement,
Lower 48,
Country Joe & The Fish,
Von Mondo,
Clear Light,
The Count Five,
Basic Channel,
Shuggie Otis,
Eli Mardock,
Ultravox,
The Slits,
The Walker Brothers,
Soul II Soul,
Newcleus,
Q and Not U,
Second Layer,
Glambeats Corp.,
Fugazi,
Electric Light Orchestra,
Faraquet,
The Knickerbockers,
Throbbing Gristle,
Absolute Body Control,
Pole,
Drive Like Jehu,
Cabaret Voltaire,
Magma,
The Pop Group, The Pop Group, The Pop Group, The Pop Group.
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.