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 Uzbekistan and from Mumbai.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in 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 1966 to 1978.
I'm losing my edge.
To all the kids in Shanghai and Lille.
I'm losing my edge to the art-school Mumbai 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 guitar 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 Rowland S Howard / Lydia Lunch to the grime 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 Brass Construction. All the underground hits.
All Derrick Morgan tracks. I heard you have a vinyl of every The Moody Blues record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a chamberlin and a snare and are throwing your macbook out the window because you want to make something real. You want to make a The American Breed record.
I hear that you and your band have sold your spring reverb and bought a theremin.
I hear that you and your band have sold your theremin and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Steve Hackett,
Gang Green,
10cc,
June of 44,
The Fugs,
Massinfluence,
Rhythim Is Rhythim,
Drive Like Jehu,
Faraquet,
Icehouse,
The Golliwogs,
Lebanon Hanover,
Pere Ubu,
Agitation Free,
The West Coast Pop Art Experimental Band,
The Vogues,
Lightning Bolt,
The Names,
Johnny Clarke,
Sixth Finger,
the Swans,
The Fall,
Darondo,
Crooked Eye,
Archie Shepp,
Arthur Verocai,
Stetsasonic,
Lonnie Liston Smith,
F. McDonald,
Kayak,
Con Funk Shun,
Section 25,
The Leaves,
Kurtis Blow,
Be Bop Deluxe,
Pagans,
Gary Puckett & The Union Gap,
Barrington Levy,
Panda Bear,
Lindisfarne,
The Walker Brothers,
Skriet,
Roxette,
Sun Ra Arkestra,
It's A Beautiful Day,
Pussy Galore,
Ultravox,
Bobby Byrd,
Bob Dylan,
Robert Hood,
KRS-One,
The Mojo Men,
Radio Birdman,
Derrick Morgan,
Arab on Radar,
One Last Wish,
Gang Gang Dance,
Yusef Lateef,
The Mummies,
Rosa Yemen,
Thee Headcoats,
Rakim,
Rites of Spring,
Bobby Hutcherson,
The Remains, The Remains, The Remains, The Remains.
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.