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 Jordan and from Hong Kong.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
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 1965 to 1978.
I'm losing my edge.
To all the kids in Toronto and Madrid.
I'm losing my edge to the art-school Portland 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 mellotron 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 June Days to the disco 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 Tubeway Army. All the underground hits.
All Grandmaster Flash and the Furious Five tracks. I heard you have a vinyl of every Soul Sonic Force record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying a spring reverb and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Brick record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pylon,
JFA,
Sonny Sharrock,
The Red Krayola,
Gabor Szabo,
The Stooges,
The Modern Lovers,
Crime,
The Durutti Column,
Ponytail,
Kas Product,
The Grass Roots,
Liaisons Dangereuses,
Lucky Dragons,
The Dead C,
Al Stewart,
Suburban Knight,
Barry Ungar,
Bobby Hutcherson,
Qualms,
The Golliwogs,
Röyhkä ja Rättö ja Lehtisalo,
Judy Mowatt,
Boz Scaggs,
Porter Ricks,
Ralphi Rosario,
John Lydon,
Chris Corsano,
Art Ensemble Of Chicago,
Q and Not U,
Reuben Wilson,
Moss Icon,
Darondo,
The Mighty Diamonds,
The West Coast Pop Art Experimental Band,
The Alarm Clocks,
Kool Moe Dee,
Graham Central Station,
Soft Cell,
Bobby Sherman,
Jerry Gold Smith,
Eyeless In Gaza,
the Bar-Kays,
Pharaoh Sanders and the Fire Engines,
The Saints,
Ultimate Spinach,
Newcleus,
Ken Boothe,
Mars,
Erasure,
Brick,
The Angels of Light,
Bush Tetras,
Isaac Hayes,
Sällskapet,
Thee Headcoats,
Gong,
Blancmange,
Roxy Music,
The Human League,
Girls At Our Best!,
Junior Murvin,
Howard Jones,
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.